ISSN 2560 – 4430 Tadija Janičić, Go u moru, ulje 180×220cm Tadija Kulttura: decembar 2017. / broj 06 Kulttura: 06 02/

: Editor’s note

: Reč urednika In this issue of the magazine, we will Nemanja Milenković present directors of the projects U ovom broju predstavljamo direktore for the European capital of culture, projekata za Evropsku prestonicu festival directors and art directors kulture, direktore festivala i umetničke coming from the countries of direktore koji dolaze sa prostora ex-Yugoslavia, who are linked to bivše Jugoslavije koji su vezani ili za important theatre festivals (Bitef, velike značajne pozorišne festivale MESS,’’KotorArt“), which although Cities European Capitals of Culture 2021 (Bitef, MESS, „KotorArt“) koji, iako their place has changed (they are no Novi Sad/ je njihovo mesto promenjeno (nisu longer the gate to the East or West, Evropska prestonica kapija Istoka i Zapada što jesu bili u as they were in the old division), are that we all kulture 2021 staroj podeli sveta), i danas jesu veliki still big and significant festivals that i značajni festivali koji kontinuirano continuously work on the dialog of create rade na dijalogu različitih pozorišnih different theatrical forms. koji svi Participation, dialogue, determination formi. Novi Sad in Serbia and Rijeka in Since January 2017, Nemanja Milenković (1977) has been the Novi Sad u Srbiji i Rijeka u Hrvatskoj Croatia earned the title of the stvaramo director of “Novi Sad 2021 – European Capital of Culture” su dobili titulu Evropske prestonice European capital of culture. Our Zajednički, dijalogom, istrajno Foundation, which was founded at the time because the kulture. Naši sagovornici su direktor dialogists are Nemanja Milenković, European Commission in October 2016 assigned this prestigious Nataša Gvozdenović Fondacije „Novi Sad 2021“ Nemanja the director of the foundation Nemanja Milenković (1977) je od januara 2017. godine direktor title to the city of Novi Sad. He was also the brand manager glavna i odgovorna urednica editor- in-chief Milenković i umetnički direktor ’’Novi Sad 2021’’, and Slaven Toli, Fondacije „Novi Sad 2021 – Evropska prestonica kulture“, koja je and leader of the city’s bid for the European Youth Capital. He projekta „Rijeka 2020“ Slaven Tolj art director of the project ’’Rijeka tada osnovana jer je odlukom Evropske komisije u oktobru 2016. deals with brands for over twenty years now and strives to s kojima opet govorimo o prilici za 2020’’. Again, we are going to grad Novi Sad poneo ovu prestižnu titulu. Takođe, bio je brend emphasize the best in each brand and makes it perfect. He has redefinisanje i širenje identiteta discuss redefining and expanding the menadžer i vođa projekta kandidature grada za Omladinsku a sociological and anthropological approach to culture and prestonicu Evrope. Bavi se brendovima duže od dvadeset godina believes that culture is, above all, the way of life. gradova. identities of these two cities. i nastoji da u svakom brendu istakne ono najbolje i usavrši ga. Ima By merging formal education from the Human Science (Faculty Kako će časopis doputovati i do Given that this issue of the magazine sociološki i antropološki pristup kulturi i smatra da je kultura, pre of Philosophy – Department of History) with Applied Science manifestacije Europe Theatre svega i konačno, način življenja. will travel to the manifestation Europe (Faculty of Technical Sciences – Industrial Management), Prize u Rimu koja okuplja neka Theatre Prize in Rome, which gathers Spajajući formalno obrazovanje iz humanističke nauke (Filozofski he applied his knowledge and practical experience through od najznačajnijih imena, ako some of the most important names fakultet – Odsek za istoriju) s primenjenom naukom (Fakultet creative industries in the media, advertising, social responsibility, govorimo o kulturnom identitetu, from the sphere of cultural identity, tehničkih nauka – industrijski menadžment), svoje znanje i education, marketing, branding and public relations. He gained tako je on zamišljen kao svojevrsno the magazine is conceived as a sort praktično iskustvo primenio je kroz kreativne industrije baveći professional experience in these areas at local, regional and predstavljanje lidera velikih of presentation of the leaders of big se medijima, oglašavanjem, društvenom odgovornošću, national radio and TV stations as a journalist and announcer, umetničkih projekata koji dolaze s art projects coming from the region of obrazovanjem, marketingom, brendingom i odnosima s javnošću. and then as Director of Radio Television Vojvodina (2006 – prostora Zapadnog Balkana. the Western Balkans. Profesionalno iskustvo u pomenutim oblastima ostvarivao je 2009) and executive director for promotion of programs and na lokalnim, regionalnim i nacionalnim radio i TV stanicama kao multimedia of RTV (2009 – 2010). In advertizing agencies he novinar i voditelj, a zatim i kao direktor Radio – televizije Vojvodine worked as a copywriter, account and project manager, sales /*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/* (2006 – 2009) i izvršni direktor za unapređenje programa i director and marketing director. He increased his experiences multimedije RTV – a (2009 – 2010). U agencijama za oglašavanje through different levels of organization: from small and medium obavljao je poslove copywriter – a, account i project menadžera, enterprises to large companies and corporations in public and direktora prodaje i direktora marketinga. Kao menadžer za private sector, being a public relations manager for Southeastern Novi Sad odnose s javnošću za jugoistočnu Evropu kompanije „Mercator“, Europe for “Mercator”, as well as for international music festivals Beograd ali i međunarodne muzičke festivale „Big Snow Kop“ i „Exit“, “Big Snow Kop” and “Exit.” Since 2013, he has been the Chairman Rijeka upotpunio je svoje iskustvo stečeno kroz različite nivoe of the Exit Foundation Steering Committee dealing with Sarajevo organizacija: od malih i srednjih preduzeća do velikih kompanija i marketing and social responsibility sectors, since 2012, he has korporacija u javnom i privatnom sektoru. Od 2013. godine je na been the creative director of “Brendon & Brenda” Agency. He was Kotor poziciji predsednika Upravnog odbora Exit fondacije pokrivajući trained in Novi Sad, Belgrade, Amsterdam, Leeds, Bucharest, sektore marketinga i društvene odgovornosti, od 2012. je Sarajevo and through workshops led by Wendy Dier (BBC, ITV), kreativni direktor brending agencije „Brendon & Brenda“. Stručno Rick Thompson (T – media), Sue Beardsmore (BBC), Clara Zita se usavršavao u Novom Sadu, Beogradu, Amsterdamu, Lidsu, (BBC, ITV) David Nelson (BBC), Robert Kaplan, Ichak Adizes, Bukureštu, Sarajevu i kroz radionice Vendi Dajer (BBC, ITV), Rika Bob Bairstow (ITV), Kathy Nelson (ITV). Tompsona (T – media), Su Birdsmor (BBC), Klare Zite (BBC, ITV), Which idea characterizes the project Dejvida Nelsona (BBC), Roberta Kaplana, Isaka Adižesa, Boba “Novi Sad 2021 – European Capital of Culture”? Berstoua (ITV), Keti Nelson (ITV). – The basic idea is to create new bridges – physical, symbolic, Koja ideja karakteriše projekat among people, among territories – to connect a new audience „Novi Sad 2021 – Evropska prestonica kulture“? with culture. Basically, we are trying to make a bridge where – Osnovna ideja je da napravimo nove mostove – fizičke, culture is a way of life. The ECoC project involves all of us, and simboličke, među ljudima, teritorijama – da povežemo novu for more than 30 years it has succeeded in transforming cities /03 Kulttura: 06 04/

publiku s kulturom. Suštinski, nastojimo da napravimo most gde through culture, not only in the cultural segment, but also in the fokusirali smo se da to rešimo. Stoga navodim da EPK neće precisely from the Culture Development Strategy, and we je kultura način života. Projekat EPK uključuje sve nas i već više social, economic and even political sector. rešiti sve probleme ovog grada, ali će rešiti neke ciljeve koje were focused on solving this. Therefore, I state that the ECoC od 30 godina uspeva da kroz kulturu transformiše gradove ne sebi postavi. will not solve all the problems of this city, but it will solve some What is the vision of Novi Sad before, during the samo u kulturnom segmentu već i u socijalnom, ekonomskom, pa of the goals set. ECoC year, and after 2021? Kultura dijaloga je drugi pristup koji je korišćen u vezi s čak i političkom. razvojem tzv. Kineske četvrti. Od jedne problematično Culture of dialogue is another approach used in the – There are two strategies for approaching the European Koja je vizija Novog Sada pre, tokom same godine iščitavane transformacije industrijskog nasleđa, za koje želimo development of the so – called. Chinese Quarter. From Capital of Culture. One is mostly applied by West European cities, titule EPK i za period nakon 2021. godine? da postane Omladinski kreativni polis, došlo se do toga da a problematic reading of the transformation of industrial and it comes down to preparing for four years, you are practically se potpuno otvoreno – kroz istraživanja, ankete, poređenja, heritage, for which we want to become a Youth Creative – Postoje dve strategije pristupa Evropskim prestonicama invisible, after which the city simply explodes into the diversity mogućnost davanja predloga, uživo emitovane razgovore Polis, we came – through surveys, comparisons, possibilities kulture. Jedna je ona koju uglavnom primenjuju zapadnoevropski of the program, but not necessarily new spaces. The second koji su uključivali stručnu i najširu javnost – stigne do zdrave of submitting proposals, live broadcasts involving the gradovi i ona se svodi na to da se četiri godine pripremate, da concept is the one in which you create programs for four years, osnove koja uskoro treba da krene u realizaciju. Taj dijalog je professional and wider public – to a healthy foundation that will ste praktično nevidljivi, nakon čega grad prosto eksplodira u highlighted, of course, in the year when the city is the European pokazao različite interese i želje, ali smo došli do dogovora, što soon be put into practice. This dialogue has shown different raznovrsnosti programa, ne obavezno i novih prostora. Drugi Capital of Culture. je izuzetno dragoceno. Ponosan sam na građane Novog Sada interests and desires, but we have come to an agreement, koncept je onaj u kojem vi stvarate programe i tokom četiri Novi Sad has opted for the second approach for several reasons. što su to prepoznali i dali svoju podršku i poverenje koje je vrlo which is extremely valuable. I am proud of the citizens of godine, naravno s vrhuncem u toj godini kada je grad Evropska The first one is that the public will hardly accept the fact that teško dobiti kada su protekle decenije izgradile sve suprotno Novi Sad who recognized this and gave their support and prestonica kulture. something will be seen only in four years. The reasons for this are od toga. Slične primere pokazali su i procesi u razvoju trust which are very difficult to get when in the last decade Novi Sad se opredelio za drugi pristup iz nekoliko razloga. Prvi probably justified. Too many failed promises and expectations programa „Artist in Residence“, muralizacije, volonterizma, itd. everything was built up the opposite. Similar examples have been shown in the development of the “Artist in Residence” je da bi javnost kod nas teško prihvatila argument da će se happened in this area, and also we can hardly say patience is Da li mislite da su institucije, organizacije i program, muralization, volunteerism, etc. nešto videti tek za četiri godine. Razlozi za to su verovatno i our trump card. However, the key reason for such a strategy is udruženja u Novom Sadu dovoljno povezani sa opravdani. Previše izneverenih obećanja i očekivanja se desilo the need for continuous capacity development, which primarily evropskim fondovima i institucijama? Do you think institutions, organizations and na našim prostorima, a ni strpljenje nam baš nije adut. No, ključan relates to the construction of processes and people. Frankly,

associations in Novi Sad are sufficiently Sad 2021“ „Novi Fondacija ustupila – Egzaktno se može reći da nisu. Istraživanje je pokazalo da razlog za takvu strategiju je potreba za kontinuiranim razvojem the programs are the most attractive ECoC projects; however, connected with European funds and institutions? kapaciteta, a to se, pre svega, odnosi na izgradnju procesa i those mostly remembered are infrastructure projects. And for samo 13% kulturne scene komunicira i sarađuje s Evropom. ljudi. Istina, programi su najatraktivniji deo projekta EPK, ipak, one and the other, processes are necessary; systematized and Što bi slikar iz tzv. Kineske četvrti, Tadija Janičić, rekao: – It can be said that they are not. The survey showed that only najviše se pamte oni prostorni – infrastrukturni projekti. I za jedno established mechanisms of different principles that involve „Ovakvu vrstu zatvorenosti ni Njujork sebi ne bi dozvolio“. 13% of the cultural scene communicates and cooperates with i za drugo, neophodni su procesi. Sistematizovani i ustaljeni opening the scene to Europe, involving citizens in culture as a Jedan od naših ciljeva je da proširimo tu saradnju. Europe. Tadija Janičić, a painter from the so – called Chinese Quarter, says: “This kind of tightness New York itself would not mehanizmi različitih principa koji podrazumevaju otvaranja scene way of life, a dialogue based on the facts ... all these processes Postoji li bojazan da će se onda od Fondacije allow.” One of our goals is to extend this cooperation. prema Evropi uključivanjem građana u kulturu kao načina života, that are not part of our understanding of the society development očekivati da sprovodi sve projekte saradnje s EU? dijaloga baziranog na činjenicama... svih tih procesa koji nisu deo as a whole. In the West, they may be implied, here, they are still Is there any fear that it would be expected from – Oseća se da to može biti slučaj u mnogim sektorima jer našeg poimanja razvoja društva u celini. Na Zapadu ih možda developing. And for that, the most important are people. They the Foundation to implement all EU cooperation postoji potreba za mesijanskim rešenjem. Šalu na stranu, podrazumevaju, kod nas su oni u povoju. A za to su najbitniji ljudi. are the ones who create the processes from which spaces and projects? Oni su ti koji stvaraju procese iz kojih nastaju i prostori i programi programs are created that will attract the audience by creating naravno da je Fondacija najodgovornija za organizaciju koji će privući publiku stvarajući nove vrednosti, konačno i new values, and finally the identity of a city. Four years are not određenih stvari, ali mnogo indirektnih stvari potpuno zavisi od – It seems that this can be the case in many sectors because identitet jednog grada. Četiri godine nisu dovoljne za to, ali enough for that, but once we have to start. If we can no longer svih naših sugrađana. Pozdravljam inicijative koje su posledica there is a need for a messianic solution. Joking aside, the jednom moramo početi. Ako na prošlost više ne možemo da influence the past, the future is our chance. There are those who dobijanja titule, a nemaju veze direktno s pobedničkom Foundation is most responsible for organizing certain things, utičemo, budućnost jeste šansa. Ima onih koji smatraju da je to consider it impossible, and there are us who believe that this is aplikacijom, koja jeste naš okvir delovanja. Na primer, but a lot of indirect things are completely dependent on nemoguće, i ima nas koji verujemo da je to moguće. I jedni i drugi possible. Both are right. The question now remains who will with početak revitalizacije Podgrađa nije deo našeg projekta, ali je all our fellow citizens. I welcome the initiatives that are the su u pravu. Ostaje sada samo pitanje ko će sa svojim uverenjima, their beliefs, and thus abilities and behavior outweigh. proistekao iz titule. Vrlo je važno da što veći broj građana bude result of winning the title, and do not have direct links with the pa time i sposobnostima i ponašanjem, doneti prevagu. uključen, direktno ili ne, u sam proces i tako žive taj doživljaj da application, which is our framework of action. For example, Does this include a new cultural policy? treba da budemo Evropska prestonica kulture. the beginning of revitalization of the Suburbium is not part of Da li to uključuje i novu kulturnu politiku? our project, but it came from the title. It is very important that – Inter alia. This is primarily a cultural project, but it has a wider Kakvu saradnju imate sa skorašnjim, sadašnjim, as many citizens are involved, whether directly or not in the – Između ostalog. Ovo jeste prevashodno projekat kulture, impact on one city. The previous ECoC experiences have shown budućim Evropskim prestonicama kulture? ali ima mnogi širi domet uticaja na jedan grad. To su pokazala that. What is most important in this project are motivation and process, so they live in a way that we should be the European iskustva dosadašnjih EPK. Ono što je najvažnije u ovom projektu focus. Thus, the Culture Development Strategy occurred as a – Intenzivnu, čak nam je sad u Briselu rečeno da je jako dobra i Capital of Culture. da treba uključiti i druge gradove. U svakodnevnoj komunikaciji je motivacija i fokus. Pa se tako strategija razvoja kulture desila result of the candidacy. I wish to believe that Novi Sad would have What kind of cooperation do you have with former, smo sa oko trideset gradova. kao posledica kandidature. Želim da verujem da bi je Novi Sad got one anyway, but the question is when. Therefore the ECoC present, future European Capitals of Culture? svakako dobio, ali pitanje je kad. Otuda je titula EPK važna i kao title is also important as a metaphor for taking the exam. There is Koji je najveći izazov? metafora polaganja ispita. Nema odlaganja. Rok je taj i taj i to nam no delay. The deadline is clear and we have to do what we have – Intensive. Even in Brussels we have been told recently that it je što nam je. Na nama je koliko ćemo tu priliku iskoristiti. to do. It is up to us how much we will use this opportunity. – Po mom subjektivnom osećaju, verujem da je to povezano s is very good and that we should include other cities. On a daily očekivanjima. Ako ništa drugo, onda zbog heterogenosti istih. basis we communicate with about thirty cities. Koji su pristupi koje koristite u projektu What approaches used in this project are Jedna očekivanja imaju obični građani, druga predstavnici What is the biggest challenge? inovativn i za Novi Sad? innovative for Novi Sad? nevladinog sektora, treća predstavnici institucija, a sasvim – Vrlo je značajan princip uključivanje građana primenjen u okviru – A very important principle is the involvement of citizens which četvrta privrednici, predstavnici Grada, Pokrajine, Republike, – According to my personal opinion, I believe that this is programa „Nova mesta“. On nije deo tradicije ovih prostora kada is applied within the “New Places” program. It is not part of the ako hoćete i sami turisti. U tom smislu je ovo nezahvalan related to expectations; if nothing else, at least because su u pitanju mali zajednički urbani prostori. Proces je uključio tradition of this area when it comes to small common urban posao, ali je, s druge strane, i predivan jer mimo uobičajenog of the heterogeneity of them. One expectation is made

uverenja imate priliku da menjate stvarnost oko sebe. by ordinary citizens, other by representatives of the non – Sad 2021“ | fotografija/photograph: „Novi Fondacija Milenković, Ivana na engleski/Englsih translation: | prevod Sonja Jankov sociologe koji su anketirali građane, arhitekte i urbaniste koji spaces. The process involved sociologists who interviewed su pravili analizu prostora, organizovane su i fokus – grupe, a citizens, architects and urban planners who made space governmental sector, third by representatives of institutions, posle i međunarodnog žiriranja i glasanja publike stiglo se do analysis, focus groups were also organized, and after the and fourth by businessmen, representatives of the City, the pobedničkih radova, koji će biti kasnije realizovani. Nama je international jury decision and voting, we got winning works, Province, the Republic, and even the tourists themselves. In želja da ovakav proces postane stalni sistem kako grad uređuje which will be realized later. We wish this kind of process becomes this sense, this is an ungrateful job, but it is, on the other hand, svoj javni prostor. Mi smo javni prostor prepoznali kao jednu a permanent system for the city to regulate its public space. wonderful because, beyond the usual conviction, you have the opportunity to change the reality around you. od problematičnih stvari, upravo iz strategije razvoja kulture, i We recognized public space as one of the problematic issues, teksta/author: autorka /05 Kulttura: 06 Jana Fabra utrajanju od24 sata,koju sunekiodvodećih svetskih doprinela predstavaje najviše „Olimp“ slavnog belgijskog reditelja budem, bez lažneskromnosti, izuzetno zadovoljan. Tom uspehu pohvalne, te dasunamsve predstave bilerasprodate, moram da su reakcije iustranim medijimaiunašoj stručnoj javnosti bilevrlo najboljim izdanjem ovog festivala da uposlednjihdeset godina, – Sobzirom nato dasunekinaši medijiproglasili 51. Bitef planirate isledeće izdanje? festivalu kad sada ste, pretpostavljam, već počelida Epic Trip. Kakvi suVam onedavno utisci održanom novom „epskom putovanju“ sprikladnimsloganom Prošle godinejubilarni, 50. Bitef, aodove već na beogradske osnovne škole... Akcija nastavlja! se Jednom prilikom, timBitefa jekuvao za goste, drugomobilazio savremenim rečnikom govoreći, brendira ime, trajanje ivrednost. specijalni događaji tipa foto na kojima –sešna, dodatno, se konferencije za novinare priređuju se širom Evrope, kao i Biteftendencija. jeaktivan nadruštvenim mrežama, onlajn, s glavnog toka festivala –ozbiljnog promišljanja novih pozorišnih manifestacije. To nijejedinaakcija kojom jepažnja preusmerena večera pouzoru naglamurozni stil kakav gajenajveće svetske Sredinom novembra, najskorije, održana jedonatorska I poslefestivalskog izdanja, aktivnosti Bitefa sunastavljene. kamp. „Olimp“ JanaFabra, koja jeCentar „Sava“ pretvorila upravi mali Ove godineekskluziva jebiladvadesečetvoročasovna predstava udruženja pozorišnih kritičara iteatrologa, ito baš uvreme Bitefa. godine Bitef jeorganizovao veliku konferenciju Međunarodnog međunarodnim krugovima teatrologa ipozorišnih kritičara,prošle veliku pažnju. Takođe, ulokalnim nesamo Aktivan okvirima. u ugradio jeuBitef, festival slavne prošlosti, zbogkoje idanas uživa nikoga neostavljaju ravnodušnim. Odnedavno, deote energije ovdašnjojne samo javnosti. Njegova stručnost, prodornost Ivan jepozorišni Medenica čovek, kritičar, profesor, dobro poznat emancipatorski prevratnički, Radikalno, Bitef, Beograd Ivan Medenica UMETNIČKI DIREKTOR I SELEKTOR BITEFA ART DIRECTOR AND SELECTOR OF BITEF / Belgrade International Theatre Festival emancipative subversive and Radical, visiting Belgrade The schools... action primary continues! of BITEFteam were cookingfor guests, at another they were building avaluable, lasting brand. At themembers oneoccasion, isto, purpose whose speakinginmodernterms, contribute to around Europe, as well as specialevents suchas photo sessions, online, networks; onsocial press conferences are organized deliberationserious of new theatre tendencies. BITEFisactive which took attention away from themaincourseof thefestival – prestigious world manifestations. That was not theonlyaction November, whichimitated theglamourous style of themost recent onewas afundraising dinnerorganized inmid– Even after thefestival, BITEFactivities continued. The most ’’Sava’’ Center to transform into atruelittle camp. performance ’’Mount Olympus’’ by JanFabre, whichcaused itself. This year, thecenterpiece of thefestival was a24 –hour Theatrologists, whichtook place at timeas thesame thefestival organized theInternational Symposium of Theatre and Critics circles of theatrologists andtheatre last critics, year BITEF It isfamous not onlylocally, butglobally. Active ininternational which dueto thisfamous past enjoys great attention even today. part of that energy into BITEF, afestival of historical significance acuteness leave nooneindifferent. Recently, hehas embeddeda well –known not onlyto contemporary public.Hisexpertise and Ivan isamanof Medenica thetheatre, acriticandpedagogist Bitef, Beograd corporally, andaesthetically anagogically –thisplay allows us specific (very long)performance situation that influences us of Greek tragedy, andthusauniqueexperience of beingina multi –layered andingenioustreatment of theentire corpus far’’.so Through visualandwell –thought outscenography, that itwas ’’the most imporant performance of the21st century Some of theleading world andtheatrologists critics declared ’’Mount Olympus’’ by thefamous producer, Belgian JanFabre. What contributed most to that success,was the24 –hourplay I must say, withoutfalse modesty, that Iamextremely satisfied. flattering, andthat consequently allof ourshows were out, sold of both theforeign media andthedomestic public were very best editionof thefestival inthelast 10years’’, andthat reactions –Given that of some ourmediaproclaimed the51st BITEF’’the nextplanning its edition? festival now that you have, Iassume, already begun trip’’. What are your impressions of therecently held ’’epic withtheappropriate journey’’ tagline, ’’Epic and thisyear it hasalready embarked new onits Last year BITEFcelebrated 50thanniversary, its

06/ /07 mogući poligonza praktično preispitivanje teorijskih pitanja o i kompetencija, teatroloških ikustoskih: Bitef jeza menenajbolji ukrštanju ostvaruje ispojmojihličnihprofesionalnih interesovanja i treba da budenajšire prihvaćeno iuizvođačkim. Baš utom se je, iunas, prihvaćeno čak uvizuelnimumetnostima, sadamora bez pomoćiteorije. Preplitanje umetničke prakse iteorije uveliko prevratničkih formi scenskih –što jedanas nemogućetretirati Bitef imaizoštreniju estetsku misiju–prepoznavanje novih i/ili što jebiloukontekstu Sterijinog pozorja. Razlog tome ješto i promišljanje jošmnogovažnije ukontekstu Bitefa, nego – Pritome idaljeostajem, stimšto mislimdajeteorijski okvir kasnije, naBitefu? Vašeg umetničkog angažmanadesetak godina i recepciji publike. Kako vidite razvoj tog aspekta manifestacijama, teorijskim medijskoj okvirima, slici kvaliteta glavnog programa negoinapratećim insistirali nanegovanju sadržaja, nesamo oblikovali Sterijino pozorje, poznato jedaste Još odpočetka dvehiljaditih, kada ste umetnički glavnom programu. reditelja dve čijesmočak ErsanaMondtaga, predstave imaliu kao što jeove sradom godinebioslučaj mladog nemačkog poetike, daimpružimomeđunarodnu vidljivost iodskočnu dasku, promovišemo ipodržimo najzanimljivije pojedinačne autorske Takođe, kao iizvorni Bitef, danas imise trudimodaprepoznamo, teatar, naglasak stavljao natradicionalne, nekad ifolklorne forme. nedostajalo izvornom Bitefu koji je, kada jeupitanju ne–zapadni i uobličene, danisuiste, naprimer, uNemačkoj iKini...To je „univerzalne pojave“, već dasuoneuvek kulturno utemeljene duhu vremena, emancipatorsko je... Treba imati uvidudato nisu verujem, tragati za onimšto jedrugačije, provokativno, odgovara modernističkog „novuma“, alijeidaljemoguće, uto duboko i fragmentarizacijom, nemože govoriti se ukoordinatama vremenu idaljebitnoobeleženom postmodernom hibridizacijom pozorišnih tendencija iznajrazličitijih svetskih kultura. Danas, u rukovodimo onimšto jenekada bilamisijaBitefa: afirmacija novih – namapivodećih svetskih pozorišnih festivala. Pritome se drugačijem istorijskom, društvenom iumetničkom kontekstu – Trudimo daBitef se utvrdimo, repozicioniramo –ubitno mogao dabudeubudućnosti? Šta jedanasBitef, odnosnošta je nekad bioišta bi srpskaBiblija, epska književnost srednjeg veka). naša (posrnula) zapadna civilizacija (grčki mitovi itragedije, tematizacije ipreispitivanja velikih narativa nakojima zasniva se koncept, urasponu odestetskog fenomena „dugih predstava“ do to što jeprepoznato dajeprogram imao jasnu dramaturgiju i što jeiostatak selekcije naišaonadobar prijem,aposebno društveno pitanje okom susvi raspravljali... Vrlo mijedrago teatra, demokratizovao elitnukulturu ipostao prvorazredno dao jebitan doprinostome dajeovaj događaj prevazišao granice predstave, ipodvigRTS –asprenosom „Olimpa“ ukontinuitetu intenzivnu iupečatljivu savremenu verziju katarze. Pored same predstava nas oslobađa stega naše civilizacije, ostvaruje situaciji koja nanas utičeitelesno, iduhovno iestetski, ova iskustva bivstvovanja uspecifičnoj (vrlo dugoj)izvođačkoj ubojitog tretiranja celogkorpusa grčke tragedije, te jedinstvenog delu 21.veka. Putem promišljenog, vizuelnoiscenski i višeslojnog kritičara iteatrologa proglasili udosadašnjem najznačajnijom possible polygon for practical reconsideration of thetheoretical competences, theatrical andcuratorial: to me, BITEFisthebest achieves theblendof my personalprofessional interests and accepted inperformance arts.Precisely suchintertwining in visualarts(even inSerbia), and now ithas to becomewidely Intertwining of artistic practice islargely andtheory accepted nowadays impossibleto address withoutthehelpof theory. recognition of new and/or subversive forms scenic –whichis is that BITEFhas aslightly sharperaesthetical mission–the than they were inthecontext of Sterijino Pozorje. The reason and deliberation are even more important inthecontext of BITEF, – Iamstill insisting onthat, butIthink that thetheoretical frame engagement ten years later, at BITEF? thedevelopmentsee of that aspectof your artistic media portrayal andaudiencereception. How doyou accompanying manifestations, theoretical frames, ofand quality themainprogram, of butalso the you have insisted not onnurturing onlythecontents National Theatre inNovi Sad),itiswell –known that theatre festival heldsince1956intheSerbian shapedSterijinoartistically pozorje (an annual Ever sincethebeginningof 2000s,whenyou were includedinourmainprogram. of theyoung Germanproducer ErsanMondtag, two whose plays their stepping –stone. This year, that was withthework thecase authors’ poetics, offer theminternational visibilityandserve as recognize, promote themost andsupport interesting individual sometimes folklore forms. Just like theoriginalBITEF, we to try – Western theatre was concerned,itaccentuated traditional and what theoriginalBITEFwas as far missing,because as thenon are not for thesame instance, That inGermany andChina... is phenomena’’, butare always culture –based andshaped, One shouldbearinmindthat are those not ’’universal corresponds to thespiritof the age, something emancipative... to something seek different, provocative, something that of modernistic ’’novum’’, butIfirmlybelieve that itisstill possible fragmentation, we cannot communicate through thecoordinates time still considerably marked by postmodern hybridization and theatre tendencies from various world cultures. Nowadays, inthe by what to used bethemissionof BITEF: affirmation of new leading world theatre festivals. Whiledoing that, we are guided different historical, andartistic social context –onthemapof the – We to try establish andreposition BITEF–inasignificantly could itbecomeinthefuture? What isBITEFtoday i.e., what was itbefore andwhat Bible, oral andwritten forms art inSerbianMedieval Literature). (fallen) Western civilization (Greek mythsandtragedies, the revision of grand narratives, whichare thefoundations of our aesthetic phenomenonof ’’long’’shows to thematization and program had acleardramaturgy andconcept, ranging from the and especiallyhappythepublicrecognized because the pleased that therest of was theselection well also –accepted, first –class issueeveryone social was Iamreally discusssing... of thetheatre, democratized theelitist culture, the andbecame live contributed greatly to success whichsurpassed boundaries itself, theeffort of RTS (Radio Television of Serbia) to broadcast it memorable modernversion of catharsis. Aside from theplay to cast off thechainsof society, anditachieves anintense and Kulttura: 06 08/

MESS, Sarajevo

pravcima i manifestacijama savremenog pozorišta... Prijem kod questions about directions and manifestations of the modern Nihad Kreševljaković publike i vidljivost u medijima su mi značajni, Bitef treba da bude theatre. Audience reception and media visibility are important to „elitistički“ samo u pogledu svojih umetničkih sadržaja, ali to ne me. Therefore, BITEF should be ’’elitist’’ only in terms of its artistic Thought znači i hermetičan, naprotiv, on mora da nađe načine da dođe contents, but it shouldn’t be hermetic. On the contrary, it has to do široke publike, da bude ono što Antoan Vitez zove „elitistička find different ways to reach wider audiences, to be what Antoine through, umetnost za svakog čoveka“. Vitez defined as ’’elitist theatre for all’’. spontaneous, Šta su to „nove pozorišne tendencije“ koje je Bitef What are ’’new theatre tendencies’’ which BITEF has oduvek promovisao i kojom brzinom se one danas always promoted and how fast are they changing dedicated menjaju, odnosno u kojem su odnosu prema nasleđu today, i.e., how are they related to the heritage and i onome što se događa van pozorišne umetnosti, pa i the events that are happening outside the theatre MESS, Sarajevo Nihad Kreševljaković is the director of the International u društvu, ekonomiji, politici? art, in the society, economy and politics? Theatre Festival MESS in Sarajevo. For many years, he has – Ovo je složeno i bitno pitanje i zahtevalo bi mnogo veći prostor – This is a complex and important question, and it would requre a Promišljeno, been the director of SARTR (Sarajevo War Theatre), and he nego što ga mi imamo. Već sam rekao da se modernističkom lot more space than we have in this interview. I have already said was practically growing up in MESS – he started working konceptu novuma danas ne može prići kao šezdesetih godina, ali that the modernistic concept of ’’novum’’ cannot be approached for the festival when he was twenty. Nihad Kreševljaković da i dalje treba tragati – što je vrlo teško – za pojedinačnim novim, in the same way as in the 60s, but that we should keep looking spontano, is also a cultural attaché of San Marino in Bosnia and radikalnim, prevratničkim, emancipatorskim pozorišnim formama. for individual new, radical, subversive, emancipative theatre Herzegovina. MESS is one of the longest lasting festivals on Svako izdanje Bitefa trebalo bi da markira neku od njih, da je forms – which is very difficult. Each edition of BITEF should mark the territory of ex – Yugoslavia, and its importance has long kontekstualizuje i „etablira“ (ukoliko je do tada, recimo, postojala at least one of these above – mentioned forms, contextualize posvećeno ago expanded across the borders of its area of operations. samo na marginama, pre svega lokalnih izvođačkih praksi). and establish it (if until that moment, it had existed only on the In this interview with Nihad, we will discuss the history of Naravno da je od ključnog značaja kakve oblike političnosti margins of primarily local performance practices). Of course, Nihad Kreševljaković je direktor Međunarodnog pozorišnog this large and significant festival with rich identity, as well ostvaruju te nove forme, do koje su mere one društveno bitne: types of political shapes that these new forms create are of festivala MESS u Sarajevu. Niz godina bio direktor SARTR-a as future plans. (Sarajevskog ratnog teatra), a u MESS-u je praktično rastao Bitef nikada nije bio samo promocija emancipatorskih umetničkih crucial importance, as well as the level of their social significance. MESS is one of the longest lasting festivals in – uključen je u rad festivala sa svojih dvadesetak godina. formi, već i istih takvih društvenih sadržaja. BITEF has never been just a promotion of emancipative, artistic Southeastern Europe, which is why I think we should Nihad Kreševljaković je i kulturni ataše San Marina u Bosni forms, but also of the same social contents. first talk about its history. Ovaj broj „Kultture” je posvećen i instituciji i Hercegovini. MESS je jedan u najdugovečnijih festivala na umetničkog direktora, koja danas, čini se mnogo This issue of ’’Kulttura’’ is also dedicated to art prostoru nekadašnje Jugoslavije, a njegov značaj već dugo – The person most responsible for the creation of the festival is više nego ranije, mora da vodi računa o takozvanom directors, which today, it seems more than before, seže daleko izvan prostora na kojem deluje. S Nihadom late Jurislav Korenić, who founded a whole series of theatrical ustupljeno ljubaznošću Bitef festivala, autor Sonja Žugić autor festivala, ljubaznošću Bitef ustupljeno

brendiranju delatnosti, marketingu, prisutnosti has to take care of the so – called branding, Kreševljakovićem razgovaramo o istoriji ovog velikog i institutions in Bosnia and Herzegovina. His name is linked to u novoj realnosti koju živimo, često i u kontaktu marketing and presence in the new reality we live značajnog festivala bogatog identiteta i o planovima za foundation of the Youth Theatre, the Chamber Theatre... Overall, s našim sve više tehnološki razvijenim svetom. in, often in contact with our technologically fast budućnost. what I found interesting was that once, while we were doing a Kakav je Vaš stav prema ovome, uz napomenu da – developing world. What is your attitude toward presentation of MESS in Novi Sad, Almir Imširević told us that in MESS je jedan od najdugovečnijih festivala u je proteklih godina bio vrlo primetan Vaš iskorak u this, given that in the past few years you have the 60s, Korenić organized an exhibition at Collegium Artisticum jugoistočnoj Evropi, zato mi se čini najboljim da neobične akcije koje privlače pažnju šire, ne samo become noticeable due to your stride in unusal where he presented all the rejection notices from various self – počnemo priču od istorije festivala. pozorišno profilisane ili zainteresovane publike actions that attract the attention of wide, not only management communities of interest, municipalities etc. which (pres – konferencije u inostranstvu, događaji u javnim theatre – oriented audience (press conferences – Najzaslužniji za nastanak festivala je pokojni Jurislav Korenić he had asked for funding. What I’m trying to say is that all of us gradskim prostorima, foto – sešni s distribucijom na abroad, events in public city spaces, photo sessions koji je osnivač čitavog niza teatarskih ustanova u Bosni i sort of idealize the past when talking about it, but in reality, the društvenim mrežama)? distributed across social networks)? Hercegovini. Njegovo ime vezano je za osnivanje Pozorišta struggle of artists and cultural workers has always been present. My father was a cultural worker, so I know that for sure. In – Mislim da sam na to pitanje već odgovorio pozivanjem na – I believe I have already answered that question by using Vitez’s mladih, za Kamerni teatar… Generalno, ono što je meni bilo Jelena Maravić / fotografija/photograph: Jelena Maravić principle, drama is always the same and if we were actually doing Vitezov oksimoron „elitistička umetnost za svakog“. Jednom oxymoron ’’elitist theatre for all’’. As long as I am sure that we zanimljivo, jednom kada smo radili prezentaciju MESS-a u well, it would indicate that we live in more normal conditions. kada sam siguran da imamo dobar umetnički sadržaj, da have good artistic content, that we have something relevant to Novom Sadu, Almir Imširević je ispričao kako je tih šezdesetih However, I am afraid we will all have to wait for that a little longer. imamo šta bitno da ponudimo, te da marketing neće biti sam offer, I am not afraid that marketing will become a purpose in Korenić organizovao izložbu u Kolegijum artistikumu na kojoj je prezentirao sve odbijenice iz raznih tadašnjih SIZ-ova za kulturu, sebi svrha, onda sam potpuno spreman da se upustim u sve, i itself. Knowing that, I am ready to dive into all, even the craziest If we are discussing the history of MESS, we could talk about its općina… gde je tražio novac za festival. Hoću da kažem da svi najluđe marketinške i „fandrejzerske“ akcije koje koncipira Bitefov marketing and ’’fund – raising’’ activities created by BITEF’s great three phases: since the 60s and the foundation of the festival mi, kada pričamo o prošlosti, idealizujemo je, a zapravo je borba sjajan marketinški tim u saradnji s I&F McCann grupom, našim marketing team in cooperation with I&F McCann group, our main by Jurislav Korenić, various important people oversaw the umjetnika i kulturnih radnika za prostor za kulturu uvjek bila tu. glavnim sponzorom, ali koje neretko i sam osmišljavam... Lude sponsor. Often, I myself conceptualize these activities... Wacky festival. The festival was being transformed in different ways, Meni je otac bio u kulturi i znam to. U principu je to uvjek ista marketinške akcije me i lično zabavljaju: recimo, kada vodim marketing activities amuse me: for instance, when I organized nonetheless what is important is that, although it DID use to be a drama i kada bi nam bilo pravo dobro, to bi bio pokazatelj da aukciju od koje prilog ide u finansiranje 52. Bitefa, a na kojoj je the auction for financing the 52nd edition of BITEF, one of the festival of small and experimental scenes of Yugoslavia, it hosted živimo u nekom normalnom vremenu. Ali bojim se da ćemo ga svi jedna od ponuda „kupovina“ mene samog, odnosno odlazak sa offers was ,,bying’’ me, i.e. being my companion on one selector some of the greatest names, so for instance, the Living Theater morati malo još sačekati. mnom na jedno selektorsko putovanje u inostranstvo. Prisutnost trip abroad. Presence on social networks is necessary, we are was a guest in Sarajevo. When they emerged as a theatrical na društvenim mrežama je nužna, tu smo takođe vrlo aktivni... very active there as well... Actually, we created a model which Ako govorimo o historijatu Mess-a, možemo govoriti o neke phenomenon, Roberto Ciulli was one of those guests... World – Zapravo, mi smo napravili model da Bitef traje cele godine: pre 51. allows BITEF to last during the whole year: before the 51st edition njegove tri faze: od šezdesetih i osnivanja s Jurislavom class theatre has always been present at the festival. Bitefa imali smo nekoliko takvih promotivnih akcija, uključujući i of BITEF we had a few such promotional actions, including the Korenićem – tu je prošao čitav niz značajnih ličnosti koje su vodile prevod na engleski/Englsih translation: na engleski/Englsih translation: Igor Burić / prevod The second phase includes what we were doing during the tribinu u našem kulturnom centru u Parizu, a odmah po završetku forum held in our cultural center in Paris. Immediately after we festival. Festival se transformirao na različite načine, međutim, period of siege, and it is mostly linked to the name of Haris nastavili s ponovim dolaskom Jana Fabra i uručivanjem nagrada, had returned, we continued with the comeback of Jan Fabre and ono što je bitno – on jeste bio festival malih i eksperimentalnih Pašović, who was the first public worker to return to Sarajevo at donatorskom večerom, a sada nam predstoji promocija Bitefa na the award ceremony, fundraising dinner, and now the upcoming scena Jugoslavije, ali tada su dolazila neka od najvećih imena, the moment when everyone was leaving it. najvećoj svetskoj pozorišnoj manifestaciji, Premio Europa u Rimu. promotion of BITEF at the greatest world theatre tako da je The Living Theatre gostovao u Sarajevu. Kada su se manifestation – Premio Europa in Rome. oni pojavili kao teatarski fenomen, Roberto Ćuli je bio jedan od The name of my father (Muhamed Kreševljaković, author’s autor teksta/author: autor /09 Kulttura: 06 10/

tih gostiju… Uvjek je postojala prisutnost vrhunskog teatra na comment), who used to be mayor at the time is also linked to it. Haris uvjek naglašavamo, komunikacija je najdeficitarnija stvar na ovim outside... When a problem arises, we just divide ourselves into festivalu. had some kind of engagement and was then instated as the director prostorima. Ne radi se tu o priči o nacionalnom – komunikacija different orders and don’t have the need to listen to each other. of the festival which was completely in ruins at that moment, with no nam fali unutar kuće, unutar porodice, ulice… Kada se pojavi neki Druga faza je ono što smo mi radili u periodu opsade i to je najviše That is the essence of tragedy. When you think about it, during all people, with nothing. He started an entirely new story, and I believe problem, mi se samo razvrstamo u strojeve i nemamo uopšte vezano za ime Harisa Pašovića koji je čak prvi javni radnik koji se these years, only criminals never stopped communicating with that the whole concept of cultural resistance was created thanks to potrebe slušati jedni druge. To je bit tragedije. Kada pogledate, vratio u Sarajevo u trenutku kad su svi iz njega bježali. each other. Without praising their immoral beliefs, nowadays they the people who were working for the festival, and was based on the komunakacija kroz sve ove godine nije prestajala jedino među are doing better than all the rest. It is a technicality in which they Ime moga oca (Muhameda Kreševljakovića, prim. aut.), koji je fact that people continued creating art in such terrible conditions. kriminalcima. Ne hvaleći njihove nemoralne nazore, oni danas are better than us. Thus, we must nurture communication and tada bio gradonačelnik, vezano je za to. Haris je htio imati neki najbolje prolaze. To je tehnička stvar u kojoj su bolji od nas. Stoga, In this period, Haris directed ’’Alkestis’’, MESS translated Paul can’t allow the criminals in Serbia, Bosnia or Croatia to become angažman i onda je postavljen za direktora festivala koji je u tom mi također moramo održavati komunikaciju da ne bi kriminalci ni Auster’s book ‘’In the Country of Last Things’’ , which was the first role models. Staying connected is always good. When speaking trenutku bio potpuno ruiniran, bez ljudi, bez ičega. On je pokrenuo u Srbiji, ni u BiH, ni u Hrvatskoj bili ljudi koji će bit uzori. Povezanost translation of a book to Bosnian. Also, there was a play based on about the region, MESS deserves big credit for establishing jednu novu priču i vjerujem da je najviše zaslugom ljudi u festivalu je uvjek dobra. Regionalno velika zasluga za uspostavljanje that book starring Vanessa Redgrave, Susan Sontag directed communication, because it showed us the importance of openness. kreiran čitav taj pojam kulturnog otpora koji je bio baziran na toj komunikacije pripada festivalu MESS, jer je vrlo praktično ‘’Waiting for Godot’’, Peter Schumann created a few plays. Many I think that has contributed greatly to everyone, and when I say činjenici da su u takvim uvjetima ljudi nastavili kreirati umjetnost. pokazao važnost te otvorenosti. Mislim da je to doprinjelo svima, productions were done during the siege. MESS also organized the everyone, I refer primarily to the theatre scene. Today, it is a lot a kada to kažem, mislim pre svega na pozorišnu zajednicu. Danas U tom periodu Haris je režirao „Alkestis“, MESS je preveo knjigu first film festival...in a certain way, it created a picture which was harder to make something that a larger number of people will je mnogo teže napraviti neke stvari da vas gleda veći broj ljudi. Pola Ostera „U zemlji poslednjih stvari“, a to je bio prvi prevod not just a portrayal of the city under siege, but a portrayal which watch. The problem is that national cultures strive toward the U stvari, problem je što nacionalne kulture teže kolektivnom, a neke knjige na bosanski jezik, a urađena je i predstava po toj can nowadays serve as an inspiration to all those fighting for an collective, and the art is individual. You always have to think like umjetnost uvjek individualna. Uvjek morate misliti kao oni. Mi, knjizi u kojoj je igrala Vanesa Redgrejv, Suzan Zontag je režirala idea of the world different from the world we live in today, and there them. Unfortunately, we are not in the position to change things, that nažalost, nismo u mogućnosti da mjenjamo stvari, to mogu „Čekajući Godoa“, Piter Šuman je radio nekoliko predstava. is obviously something wrong with this world. I want to mention is what politicians can do, but we can preserve that consciousness političari, ali možemo držat tu svijest o lijepom, o etičkom. Puno produkcija je proizvedeno za vrijeme opsade. MESS je bio just one more thing related to that period – if you look at what was about the beautiful, the ethical. organizator prvog filmskog festivala… Na određeni način napravio created during the war, you will find no patriotic texts. You will find Kako funkcioniše organizacija festivala? How does the organization of the festival function? je jednu sliku koja nije bila samo slika grada pod opsadom, nego Sartr, Beckett, Shakespeare, Camus... One of the most popular – Bio sam na puno festivala na Zapadu koji nemaju problem s slika koja i danas može da bude inspiracija svim borcima za jednu plays at the beginning of the siege was the musical ‘’Hair’’, which – I attended many festivals in the West, which didn’t have money novcem i meni je stvarno najveća misterija: šta je problem kada potpuno drugačiju ideju svijeta od ovog u kojem danas živimo, was completely surreal, doing a hippie musical in such a difficult problems and to me personally, this is the greatest mystery: what pare nisu problem? Stvarno ne mogu shvatiti to. Bio sam tamo a ovo u čemu danas živimo očigledno ne valja. Samo još jednu situation. The art scene at that time was very liberal. It is one of IS the problem when money is not one? I really cannot understand – ljudi plaču, stresirani su, drama je… a imaju dovoljno novca da stvar vezanu za taj period bih pomenuo – kada pogledate šta the values we must nurture today. It seems like a total paradox that. I experienced it – people were crying, stressing out, there was organizuju festival. Onda pokušavam skontat: šta je drama? se radilo za vrijeme rata, tu nema patriotskih tekstova, radio se that things which were logical and normal in that day and age, are drama... and they had enough money for the organization of the Fakat ne znam. Mi kad ne bismo imali finansijskih problema, ne Sartr, Beket, Šekspir, Kami… Jedna od najpopularnijih predstava something we must fight for today, more than twenty years later. festival. That is why I try to figure out: where’s the drama? I really vidim šta ne bi štimalo. Pazi, pola ovih ljudi su radili u ratu: Lejla na početku opsade bila je „Kosa“, što je potpuno nadrealno And we learned their value in a lot more complicated period. don’t know. If we didn’t have financial problems, everything would Hasanbegović, Dino… Mi znamo da kad imaš želju i neku ideju – da u takvoj situaciji postavimo hipi mjuzikl. Umjetnička scena function. Bear in mind, half of these people were working during the ‘’Memory module’’? napravićeš. je u tom periodu bila vrlo slobodna. To je jedna vrijednost koju war: Lejla Hasanbegović, Dino... We know that when you have an moramo očuvati i danas. Potpuni je paradoks da stvari koje su u – To me personally, the program ‘’Memory module’’ is very Naravno da je složen mehanizam funkcionisanja festivala. Nije idea and you want something – you will make it. tom periodu bile logične i normalne su nešto za šta se mi danas, important. It is a program that was started during that period, and ovo kao filmski festival na kojem dođe na usb – u film, pozoveš Of course, the mechanism of the festival is complex. It is not the dvadeset i nešto godina kasnije, moramo boriti. A iskusili smo one of the programs that are still active and form a significant part of čoveka koji ga je radio, on doleti, ti ga provodaš malo… same as the film festival, where you get the film on a memory stick, koliko su vrijedne u puno kompliciranijem periodu. the MESS identity. U pozorištu dođe četrdeset ljudi koji čine predstavu, odnekud, you call the man who made it, he flies over, you take him around the „Modul memorije“? The third phase of the festival is linked to Dino autobusom, na putu svrate u neki restoran i pokvare stomake, city... In the theatre, you have forty people doing the play, they are Mustafić... a navečer moraju postavljati predstavu, a sutra je moraju igrat. supposed to arrive by bus, but suddenly they decide to stop and eat – Meni je osobno veoma važan program „Modul memorije“ koji je Banalizujem sada, ali to nisu nimalo jednostavne situacije. at a restaurant, they spoil their stomachs, and still in the evening they pokrenut u tom periodu i to je jedan od programa koji i dalje traje i – The third phase of the festival began in 1997, and it still lasts. At Pozorišni festival je vrlo živa stvar. Mi imamo vrlo mali broj ljudi have to set up the play, and the next day they have to perform. I am važan je dio identiteta MESS-a. that time, Dino Mustafić was the head of the festival, and the thing koji radi u direkciji, desetak ljudi. Imamo programe mimo festivala banalizing now, but those are not simple situations at all. The theatre I always like to mention and believe is important for the young Treća faza festivala vezuje se za Dinu Mustafića... cjelu godinu. Imamo sektore: organizacioni, protokolarni, tehnički, festival is a living thing. We have a very small number of people people today, who often rightly, but exaggeratedly complain – at the programski, produkcijski. Tih desetak ljudi imaju svoje timove who work in direction, only ten. We have programs aside from the – Treća faza festivala počinje 1997. i traje do danas. Tada na čelo moment we were doing that no one was older than the koje angažiraju pred festival. To su uglavnom ljudi koji za nas festival, which are happening throughout the year. We have sectors: festivala dolazi Dino Mustafić i ono što uvjek volim spomenuti i festival – Dino was 27, and the average age was 25. dugo rade. Problem je kada izgubimo nekog. To su mladi ljudi organizational, protocol – oriented, technical, program – oriented, mislim da je važno zbog mladih ljudi koji danas često s pravom, ali Besides, already in 1997, Yugoslav Drama Theatre was koji rade na ugovore i mi se obradujemo kada nađu bolji posao, productional. Those ten people have their teams which they pretjerano kukaju – u trenutku kada smo mi to radili niko nije bio the guest at MESS. Dino Mustafić calls it ‘’the Bosnian jer nisu ovdje dovoljno plaćeni. Naši vozači izgledaju kao da su engage before the beginning of the festival. Those are mostly the stariji od festivala, Dino je imao 27 godina, a prosjek godina je bio paradox’’ – because you were the first to restore članovi Akademije nauka. Svi imaju fakultete, neki su magistri. people who have been working with us for a long time. The problem oko 25. cooperation so fast after the war. Mladi, fini ljudi i sve to daje neki šarm… Moje uvjerenje je da, kada appears when we lose someone. Those are young people working Osim toga, već 1997. godine je na MESS-u gostovalo radite u kulturi, to ne smije biti samo posao, to mora biti bazirano as contractors, and we are always pleased when they find a better – We called the troupes from both Belgrade and Zagreb, because Jugoslovensko dramsko pozorište. Dino Mustafić na ljubavi. To nisu poslovi, to su misije, posvećenja. Mogu reći da job, because here they are underpaid. Our drivers look like members at that point the differences were not really big. This is where I to naziva bosanski paradoks – da ste tako brzo po imamo sreću da ljudi koji su ovde stvarno doživljavaju ovo kao of the Academy of Sciences. They all have BA degrees, some of have to say Dino is a real visionary and he has proved this in many završetku rata vi pružili ruku za ponovnu saradnju. ljubav, a tek onda kao posao. them even MA. Young, nice people and it all contributes to some occasions. I remember us talking about that cooperation and he kind of charm. My belief is that, when working in culture, it cannot be – Mi smo tada pozvali trupe i iz Beograda i iz Zagreba, s obzirom highlighted the need to re – open the communication as soon as Mi imamo objektivne probleme, s pozorištima, s tehnikom. Naša just a job, it has to be based on love. Those are not jobs, those are na to da u tom trenutku nije razlika pretjerano velika. Tu moram possible. I must admit I was more skeptical, and didn’t know the pozorišta često, a mislim da je to i u Srbiji slučaj, nemaju tehničke missions, dedications. I can say we are lucky to have people who reći da je Dino čovjek-vizionar i to je po raznim stvarima pokazao. audience in the theatre would react. And it turned out the audience kapacitete koji mogu podržati predstavu. Iza rata su ljudi koji perceive this first as love, and only then as a job. Sjećam se da smo mi vodili razgovore o tome i on je naglašavao were on their feet after the first play. That is when I assured gostuju imali čak neku simpatiju prema tome, ali danas više ne. potrebu da se ta komunikacija što prije otvori. Moram priznati myself we were on the right track, because really, and we always Oni koji dolaze da igraju očekuju odgovarajuće uslove i mi im We have objective problems, with theatres, with equipment. Our da sam bio sumnjičaviji, nisam znao kako će publika reagirati u emphasize this, communication is the scarcest thing in this region. nastojimo izaći u susret. Međutim, zbog ljudi, energije, neke stvari theatres often, and I believe this is the case in Serbia as well, lack the pozorištu, a publika je bila sva na nogama nakon prve predstave. And I am not talking about the lack of communication between koji bi bile prepoznate kao minus, mi to nadoknadimo nekim technical capacities to support the play. After the war, people who Tada sam sebi potvrdio da smo na pravom putu, jer zaista, to nations. We don’t communicate in our homes, in our families, drugim stvarima. were guests had sympathy toward that, but not today. They come to /11 Kulttura: 06 12/

U Sarajevu teatar koji je osnovan 1992. je Sarajevski ratni teatar. play, and they expect adequate conditions, and we try to meet their Tolj Slaven Nisu imali zgradu, ali su osnovani kao javna ustanova. Poslednja needs. However, thanks to the people and the energy, we manage pozorišna zgrada koja je napravljena je zgrada Pozorišta mladih. to compensate for some things which would have been recognized Mi gotovo četrdeset godina nemamo novi prostor za pozorište. as a minus. To govori o suštinskim problemima. Onda imate ljude koji ne In Sarajevo, the theatre founded in 1992 is the Sarajevo War Theatre. European kontaju da je to problem. A otvorili smo 500 kladionica po They didn’t have a building, but were founded as a public institution. Europska kvadratnom metru, karikiram. Toj politici nije problem što imamo The last theatre building which was made was the building of the Capital of pošast klađenja, gde mladi ljudi propadaju, jer to nam donosi prijestolnica Youth Theatre. For almost 40 years, we lack a new space for the pare. Culture theatre. This says much about the core problems. Also, you have kulture Postajemo odvratno društvo gdje smo spremni uništiti živote people who don’t see it as a problem. And you have say, 500 betting ljudi zbog para. Nama političari pričaju da treba razmišljati places per square meter. Our politics has no problem with the Rijeka komercijalno… Totalna glupost. betting plague, which ruins young people, because it brings money. „Rijeka Na kraju, priča o opsadi i umjetnosti je globalna priča. Da živimo We are becoming a disgusting society, ready to ruin people’s lives u normalnom svijetu, svaki udžbenik bilo koje akademije bi imao for money. Politicians tell us we should think commercially... A total 2020“ 2020 to poglavlje. nonsense. Dobro, ljudski Good, human Lokalni i regionalni značaj festivala? In the end, the story of the siege and the art is a global story. If we lived in a normal world, every schoolbook of every Academy would and fair – MESS je svakako najznačajniji teatarski događaj u Bosni i i pošteno have that chapter. Hercegovini. Regionalno smatram da ono što rade Bitef i MESS Slaven Tolj (Dubrovnik, 1964) suvremeni je umjetnik s bogatom Slaven Tolj, (Dubrovnik, 1964), is a contemporary artist with a rich jesu prostori gdje se ljudi bore za suštinske stvari i po tome su Local and regional importance of the festival? karijerom, ujedno i neumorni kulturni menadžer. Nakon četvrt career, and a tireless cultural manager at the same time. After running važni. stoljeća vođenja Art radionice Lazareti (ARL) u rodnome gradu, AWL (Art Workshop Lazareti) in his hometown for a half a century, he – MESS is definitely the most important theatre manifestation in izmjestio se 2012. u Rijeku na mjesto ravnatelja Muzeja moderne moved to Rijeka in 2012, as director of the Museum of Modern and MESS uvjek podržava nove festivale u Bosni i Hercegovini. Mi ne Bosnia and Herzegovina. Regionally, I believe that BITEF and MESS i suvremene umjetnosti. Umjetnički je voditelj riječkog tima koji je Contemporary Art. He is Artistic Director of the Rijeka team who won prepoznajemo jedni druge kao konkurencije, nego svi radimo ono are places where people fight for crucial things and values, and osvojio titulu Europske prijestolnice kulture 2020. the title of the European Capital of Culture 2020. što je bitno. therefore they are significant. Najveći projekt u povijesti Rijeke, ali i u povijesti The biggest project in the history of Rijeka, but also in Nagrade i planovi za budućnost? MESS always supports new festivals in Bosnia and Herzegovina. We hrvatske kulture, upravo je onaj koji vodite kao the history of Croatian culture, is the one you lead as an don’t see each other as competitors, but as people who are doing ustupljeno ljubaznošću vlasnika, autor Velija Hasanbegović Velija autor ljubaznošću vlasnika, ustupljeno – Ljudi vole nagrade, a s druge strane, nagrade su uvjek splet umjetnički direktor. Kolika je to odgovornost, na Artistic Director. What is personal, artistic and social something that matters. raznih okolnosti. Osobno mislim da te stvari uvjek proizvedu razini osobnoj, umjetničkoj i društvenoj? responsibility of it? razne priče, preispitivanja, što je dobro. Awards and plans for the future? – Svakom poslu treba pristupiti na jednak i odgovoran način – Every job should be accessed in the same and responsible way Najveća nagrada je ono što ljudi ponesu u svojoj glavi i duši, ono – People love awards, and awards on the other hand, are always a bez obzira o kakvom se kontekstu radi, prostoru na margini regardless of the context, space, small or large exhibition, small or large po čemu se mjeri uspjeh predstave. result of various circumstances. Personally, I believe those things ili u centru, maloj ili velikoj izložbi, malom ili velikom projektu. project. I have been working in the independent scene for a long time, always give rise to different stories and reconsiderations, which is Dugo sam radio na nezavisnoj sceni i to sam naučio još krajem and I learned that, by the end of the eighties, and insisted on it. I have Nama su važne nagrade za poseban doprinos umjetnosti teatra. good. The greatest award is what stays in the minds and hearts of osamdesetih i inzistirao na tome, a takav pristup imam i danas. such an approach even today. Therefore, I do not burden myself with Mi smo ove godine dodjelili nagradu BH Telekomu – to su ljudi koji the people, that is how you measure the success of a play. Stoga se ne opterećujem veličinom i važnošću EPK projekta. the size and importance of the ECoC project. I think that everything su dvadeset godina sa nama. Uvjek to treba spomenuti. Mislim da je sve što smo do sada radili jednako važno i jednako we have done so far is just as important and equally valuable, and now The awards for special contribution to the art of theatre are Mi smo tajkunizirani prostor. Mi imamo ljude koji su došli do vrijedno, a sada smo dobili priliku da to što radimo rezultira we have the opportunity to see results of it in long – term, measurable important to us. This year, we gave the award to BH para, a neki od njih su poluneandertalci. No, oni su realnost. I dugoročnim, mjerljivim i vidljivim promjenama. Odgovornost and visible changes. The responsibility is great, but the space that Telecom – those are the people who have been by our side for 20 kada se sretnete s društveno odgovornom kompanijom, treba jest velika, ali i prostor koji se otvara je ogroman. Sami ne opens is also huge. We can not implement the project ourselves, so we years. That should always be mentioned. We are a region full of se spomenuti. Dali smo nagradu dizajnerskom studiju „Fabrika“. možemo realizirati projekt, već moramo uključiti i potaknuti sve must involve and encourage all those actors who are ready to invest tycoons. We have people who became rich, and some of them are Mimo onog na sceni postoji čitav svijet koji čini festival, a ulaz one aktere koji su spremni uložiti energiju, znanje i dobru volju their energy, knowledge and goodwill in order to initiate new dynamics half – Neanderthal. But, they are the reality. So, once you encounter u taj svijet su najpre plakati festivala. To je prva stvar koja se kako bi pokrenuli novu dinamiku i vratili nadu u smisao i potrebu and restore hope and need of joint action. We are not preparing a one a socially responsible company, it is worth mentioning. We also gave pojavi. Mi smo imali sreću da od 1998. radimo s agencijom zajedničke akcije. Ne radimo jednogodišnji festival velikog – year large – format festival, but we wish to create and provide the the award to ‘’Fabrika’’ design studio. Apart from what is happening „Fabrika“, s Bojanom Hadžihalilovićem. Naši plakati su deo formata, već želimo napraviti i osigurati temelje na kojima će se foundations that will continue to live after 2020. on stage, there is a whole world constituting a festival, and the identiteta festivala. Nagrade su važne da se prepoznaju neki ljudi nastaviti djelovati i nakon 2020. godine. entrance to that world are primarily festival posters. They are the You are only halfway through mapping and positioning, i institucije. first thing that shows up. We were lucky to have been working with Prošli ste tek pola puta mapiranja i pozicioniranja, and you are not lacking tension. Does the EcoC team also Što se planova tiče, opet možemo govoriti o menjanju koncepta ‘’Fabrika’’ agency and Bojan Hadžihalilović since 1998. Our posters a napetosti ne nedostaje. Postoji li i kod EPK fear the political and all other pressures that could bring i ono čemu ćemo mi težiti naredne godine je da se tematiziraju are a part of the festival’s identity. Awards are important because tima strah od političkih i svih drugih pritisaka koji ambition to market profitability and artistic prohibition? predstave i da predstave otvaraju određeni društveni dijalog. Ići they acknowledge certain people and institutions. bi ambiciju mogli svesti na tržišnu isplativost i Or is it all part of the game? ćemo na smanjivanje broja predstava, ali ćemo pokušati voditi umjetničku prohibiciju? Ili je sve to dio igre? As far as plans are concerned, we can again talk about changing – There are real problems which we counted on and those that we did računa o visokim standardima produkcija i da te produkcije budu the concept and next year we will strive toward thematizing the – Postoje realni problemi na koje smo računali i oni o kojima not think about; different interests, local and national hierarchy and podloga za otvaranje društvenog dijaloga koji je važan za nas plays, with the goal to make them in a manner that will open a nismo razmišljali; različiti partikularni interesi, lokalne i myths, ignorance and misunderstanding of the essence of the concept ovdje, ali i globalno. Ostavljamo program „Mali MESS“, posvećeni certain social dialog. We will reduce the number of plays, but nacionalne hijerarhije i mitovi, neznanje i nerazumijevanje on which this project is built, the propensity for populism, kitsch and smo inkluzivnom teatru, smatramo da je to jedna od lijepih we will try to focus on high standards of productions, and make suštine koncepta na kojem gradimo ovaj projekt, sklonost superficial solutions.

vrijednosti Evropske unije – izjednačavanje ljudi s teškoćama s fotografija/photograph: / Jelena Maravić na engleski/Englsih translation: | prevod Gvozdenović Nataša those productions a foundation for opening social dialogs that are populizmu, te kičastim i površnim rješenjima. prosječnom populacijom. To su neke stvari na kojima ćemo raditi. At the initial stage, we had an “interesting” communication with the important not only here, but also globally. We will keep the program U početnoj fazi imali smo „zanimljivu“ komunikaciju s ministrom Minister of Culture. Now we got the official and, I hope, concrete ‘’Little MESS’’, we are dedicated to the inclusive theatre, and believe kulture, sada smo dobili načelnu i, nadam se, konkretnu support from the Government of the Republic of Croatia, but we are it is one of the nice values of the European Union – making people potporu od Vlade RH, ali svjesni smo da radimo u kontekstu aware that we work in the context of an unstable and dangerous with disabilities equal to average population. Those are some of the nestabilne i opasne političke situacije na nacionalnoj, europskoj political situation at the national, European and world level. There is no things we are going to work on. i svjetskoj razini. Straha nema, ali gubimo dosta vremena i fear, but we waste a lot of time and energy on wrestling with various autorka teksta/author: autorka /13 Kulttura: 06 navedenog, ubudućekulturno središte ugradili smoiprojekt i T-zgradi uistom negdašnjem tvorničkom kompleksu. Osim djelovanje uobnovljenim tvorničkim prostorima, Upravnoj zgradi Muzej grada Rijeke iGradska Rijeka,nastaviti knjižnica ćesvoje iakteri MMSU snezavisneknjižnica, scene, advijeinstitucije, voditi kinoCroatia, Art Gradsko kazalište lutaka Rijeka,Gradska institucija –edukacijski centar, Dječjakuća koju ćezajednički godine obnoviti svi ćese objekti nastati u„Benčiću“, ćejednanova Uz Muzej moderneisuvremene umjetnosti kroz naredne tri-četiri kvart. kompleksu „Rikard Benčić“ uRijecikoje pretvara se ukulturni jednojeunizugradskihMMSU prostora ubivšem industrijskom središte Rijeke. Zapadno kriloH-zgrade ukoje jesmješten novi koji prema se novim planovima pretvara ubuduće kulturno konačnose smjestio ubivši industrijski kompleks „Benčić“ jepronađenoRješenje udrugačijoj koncepciji djelovanja iMuzej opredijelili. knjižnici usvoj novi prostor, zorno govori ostrategiji za koju smose desetljećima čekao napreseljenje izpodstanarstva uSveučilišnoj Primjer Muzeja moderneisuvremene umjetnosti, koji je na pogreške. dugoročne efekte odluka koje sadadonosimojernemamopravo odgovoran način. Moramo realno procijeniti svoje mogućnosti i kojem djelujemoistoga jebalansiran narealističan isocijalno – Projekt sviješću jemišljensa opostindustrijskom kontekstu u efikasnost ilirealističnost? ste prostor tekOdrživost, osposobili. štedljivost, primjer, otvorili ste muzej ubivšoj tvornicitako da nego tek pametne ifinancijskidostupne poteze. Na gigantskene najavljujete infrastrukturne projekte, nesumnjivo prikandidaturi, biojedanodaduta Rijeci Iako jebogata industrijskom baštinom, što jojje djelujemo. pri tom imati povjerenja uljudeipotencijal zajednice ukojoj poticanje razvoja. Moramo otvoreno govoriti ostanju stvari, ali društvu ipolitici,te otvara se javni prostor za diskusiju, reakciju, i komunikacije. Potičemo kritičke diskurse oumjetnosti, kulturi, kulturne integracije koje uspostavlja širinukulture koegzistencije za nove suradničke programe iprojekte, mjesto i socijalne biti mjesto stvaranja novih vrijednosti. Ovaj program jeplatforma kojoj kultura postaje zamašnjak razvoja, djelovati ukontekstu, Potrebno jestvarati atmosferu ukojoj radi se upovjerenju, u ćemo dobre programe, nećemo. aloše sigurnost igraditi projekt nepristajući nakompromise. Raditi Nemamo previše vremena istoga moramo pronaći mirnoćui atmosferi nepovjerenja, to može bitinaporno, zamorno iiritantno. pri tom radite podpovećalom nekompetentnih promatrača iu je sinkronizirati akcije inarativ nakojem gradi se program. Ako komunikaciju szajednicom isvelikim brojem partnera. Potrebno i traži usredotočenost apsolutnu na sadržaj ipermanentnu promociju svojih filmova osobnih Projekt iambicija. jezahtjevan nismo budalekoje bito povjerenje i suradnički pristup iskoristili za Ivana Šarara, sloboduukreiranju imaliapsolutnu programa i aktivnom pristupu Gradske uprave, Odjelaza kulturu ipročelnika programa nevode udobrom smjeru.Dosada smo, zahvaljujući vijeću Grada Rijeke ilipodrška uvjetovana kontrolom sadržaja recimo, neargumentirani nove političkipritisak većine uGradskom projekt mora uključitičitavu zajednicu ibititransparentan, ali, Drugačiji poglediipristupi rješavanju problema sudobrodošli, zanimljivom plijenu. projekt isključivo kroz radi idejudase ovisokom proračunu istoga očekivanjima, prisutnimgorčinama ifrustracijama, interesom za energije uhrvanju srazličitim patološkim praksama ipogrešnim be created, whichwillbejointly ledby CinemaCroatia, Art Rijeka and anew institution –educational center, Children’s House, will next three /four years, allthefacilities willberestored, inBenčić ofAlong withtheMuseum ModernandContemporary inthe Art, Rijeka, whichturnsinto acultural district. urban spaces intheformer industrial complex Rikard in Benčić of ModernandContemporary issituated Art of isoneinaseries Rijeka. The west wingof theHbuildinginwhichnew Museum which according to new plansturnsinto afuture cultural center of isfinallysituatedMuseum intheformer industrial complex Benčić, The was solution found inadifferent concept of action andthe we have chosen. University Library to its space, “new” speaks clearlyof thestrategy which has beenwaiting for to decades move from therent inthe An example of of theMuseum ModernandContemporary Art, mistakes. decisions we make we because donot have theright to make evaluate ourpossibilities andthelong–term effects of the realistic responsible andsocially way. We must realistically context inwhichwe operate andtherefore itisbalanced ina – This project iscreated withtheawareness of thepost –industrial realism? just usable. Sustainability, frugality, efficiency, or intheformermuseum factory by makingthespace accessible moves. For example, you have openeda infrastructure projects, andfinancially butonlysmart of thecandidacy, you donot announcegigantic which undoubtedly was oneof theadvantages Although Rijeka isrichinindustrial heritage, in whichwe operate. but have confidence inpeopleandthepotential of thecommunity development. We have to speakopenlyaboutthestate of affairs, up apublicspace for reaction, discussion, encouragement of culture, aboutart, discourse critical societyandopen andpolitics, of theculture of coexistence andcommunication. We encourage a place of andcultural social integration that establishes thewidth program isaplatform for new collaborative programs andprojects, act inthecontext, to betheplace of creation of new values. This trust, inwhichculture becomesaninitiator of development, to toIt isnecessary create anatmosphere inwhichwe willwork in not. compromises. We shalldogoodprograms, thebad oneswe shall tranquillity andbuildtheproject andsecurity withoutagreeing to We donot have too muchtimeandtherefore we have to find the atmosphere of distrust, behard, itcan tiresome, andirritating. work underthesurveillance of theincompetent observers andin actions andnarratives onwhichtheprogram Ifyou isbeingbuilt. a large numberof to partners. Itisnecessary synchronize the and continuous communication withthecommunityand project isdemandingandrequires anabsolute focus oncontent collaboration to promote ourpersonal filmsandambitions.The in creating program andwe are not fools to thistrust use and the Department, Mr. Ivan Šarar, we have had absolute freedom City Administration, theDepartment of Culture andtheHead of in theright direction. Sofar, thanks to theactive approach of the conditioned by thecontrol of theprogram content donot lead new majorityintheCityCouncilof theCityof Rijeka orsupport but for example, theunargumented pressure political of the the project must involve theentire communityandbetransparent, Different views andapproaches to problem are solving welcome; interest andtherefore aninteresting prey. frustrations, interests intheproject through solely theideaof ahigh pathological practices andwrong expectations, bitterness and

14/ /15 mi jedaovo što radimo napravimo dobro, ljudskiipošteno. svojom voljom, već zbogmoždanog udara. Eto, ostao istalo sam sve čeka? Prijenešto skoro odgodinudanasam više otišao, ne na pitanje hoćuliželjeti ostati utakvoj sredini? Tko zna što nas ovog projekta bitimjerljiviijasno vidljivi.Što moguodgovoriti otvoriti prostor za dolazak nove energije. daćeefekti Nadam se svoje potencijale. Nadam daćemozaustaviti se trend odlaska i ponovo odabrati iprepoznati kao mjesto ukojem mogurazviti manje nesretnih ljudiidaćepostati onomjesto koje ćeljudi mjesto za život, dinamizirati daćese itransformirati, daćebiti – NadamdaćeRijeka se iriječkiprsten nakon 2020. bitibolje biti, točnije ostati? osobno, hoćelito bitimjesto nakojem ćete željeti okolicom, izgledati nakon 2020. godine? I,sasvim Kako očekujete daćeRijeka, širom sa iliužom Luka različitosti mišljenajekao potencijal zarazvoj. izgledala kao konzervativna palanka. okolnostima vjerovali usmisaodjelovanja ova zemlja bidanas produkcije. Da nijebilote energije iljudikoji suusprkos svim otvarao nove prostore iodržao vitalnost umjetničke ikulturne nezavisna kultura oddevedesetih dodanas bilamotor koji je – To smoveć dokazali svojim dosadašnjim radom jerjeupravo vrijednosti? projekt tako prvorazredne vidljivosti, važnosti i kadrove, izvede znanjeiumijećedase kulturni polja tzv. nezavisne kulture mogućepronaći volju, anarhistički...), akoliko pokušati dokazati dajeiiz koliko tome pristupiti „umjetnički“ (aktivistički, EPK jevelik izahtjevan projekt. Koliko riskirati, tj. omogućavanje suživota sadržaja iizgrađene strukture. projektu nijeizvrsnost oblikovanja idorađenost izvedbe, već i nastaviti izgrađivati. Tema arhitektonskog pristupa ovom sadržaj za sam sebe, koji prilagođavati, će se stalno reorganizirati neutralan inepromjenjiv prostor za muzejske aktivnosti, negoi istovremeno srazvojem programa Muzeja. Zgrada nijesamo već jeonamuzej unastajanju, struktura koja ćerasti irazvijati se zgrade nijezavršen objekt koji prepušta se nakorištenje, MMSU i unapređenje prostora koji susada otvoreni. Nakon otvorenja H– planira nastavak se radova naneuređenim dijelovima zgrade kao Na isti način nakoji rekonstruirao se prostor dosadašnjeg stanja, kompleksa „Benčić“. i energetski ubrza proces uređenja čitavog bivšeg industrijskog novom prostoru inataj način pokrene uređenje čitave zgrade, ali u zadanom roku preseli unovu zgradu, započne sdjelovanjem u pronalazilase alternativnaMMSU Ciljjebiojasan–dase rješenja. radovima narekonstrukciji, već krenulo se sobnovom iuhodusu stvore idealniuvjeti svi iriješe problemi kako započelo bise s Bijenalu arhitekture uVeneciji 2016. godine, čekalo nijese dase strategiji „to trebamo –to radimo“ razrađenoj iprezentiranoj na Dinka Peračića, izvođača radova isvih ostalih suradnika. Prema svih uključenih,Odjelaza kulturu, djelatnika Muzeja, projektanta Muzej dobijesvoj prostor biojekreativni iangažirani pristup U ovim okolnostima jedininačinprostor dase rekonstruira ida lokaciju. su jasnu potrebu dašto prijerealiziramo preseljenje nanovu dinamika rasta programa Muzeja iočekivanja korisnika pokazali smo imalimalidiopotrebnog budžeta. Istovremeno, program i Za rekonstrukciju H-zgrade za novi naraspolaganju MMSU budućeg kulturnog centra. dovesti marginalizirane skupine injihovu energiju središte usamo „Kuhinje“ koji baviti ćese temom migracija te tako imanjina, and Icare we dothis good,humanandfair. went away, not with my own of will, butbecause astroke. Here Iam, a place? Whoknows what isahead?Alittle over ayear ago, Ialmost What Ianswer can to thequestion of whether Iwishto stay insuch the effects of thisproject willbemeasurable andclearlyvisible. departure andopenthespace for thearrival of new energy. Ihope developcan theirpotentials. Ihopethat we willstop thetrend of people willagainandrecognize choose as aplace inwhichthey will belessunhappy peopleandthat itwillbecometheplace that live after 2020, that they andtransform, willdynamise that there – Ihopethat Rijeka andtheRijeka ringwillbeabetter place to you willwishto be, more precisely –to stay? completely isitgoingto personal, betheplacewhere surroundings,its willlooklike after 2020? And, development. How doyou expect that Rijeka, with Port of Diversity isdesignedasapotential for country today would looklike aconservative village. all thecircumstances, believed inthemeaning of theaction, this cultural production. Ifthere were noenergy andpeoplewho, despite that openednew spaces andmaintained thevitality of artistic and the independent culture from thenineties to thisday was amotor – We have already proven thisby ourwork far, so precisely because of suchfirst –classvisibility, andvalue? importance knowledge outacultural andtheskillto carry project is possibleto findthewill,humanresources, the even fromindependent –called culture theso it anarchist ...)to itandhow muchto try prove that to ie, risk, how to approach “artistically” (activist, ECoC isalarge anddemandingproject. How much but allowing thecoexistence of content andthebuiltstructure. Architectural approach to thisproject isnot theexcellence of design, itself, whichwillconstantly beadjusted, reorganized andbuilt. unchangeable place for activities, content museum butalso for program.with theMuseum The buildingisnot onlyaneutral and in progress, astructure that willbedeveloped simultaneously the Hbuilding,objectof MMCA isnot completed; itisamuseum well as to improve thespace that isnow open.After theopeningof planned to continue thework ontheother parts of thebuilding,as wayIn thesame that thespace has beenreconstructed, itis entire former industrial complex Benčić. in anew space, thusaccelerate theprocess of restauration of the MMCA shouldmove to anew buildinginthetimeset, start operating while findingalternative alongtheway. solutions The goal was clear; to start reconstruction works, butwe started withreconstruction wait to for theidealconditionsandallproblems beingsolved inorder and presented at theVenice Architecture Biennale2016, we didnot According to thestrategy needthat “we –we dothat”, elaborated staff, designerDinko Peračić, contractors andallother associates. approach of allinvolved, theDepartment of Culture, Museum to get its theMuseum own space was thecreative andengaging circumstances,In these theonlyway to reconstruct thespace and possible. users showed aclearneedto move to anew location as as soon program of andthedynamics its growth andexpectations of the only asmallpartof thetotal budget needed.At time, thesame the For thereconstruction of theHbuildingfor thenew MMCA, we had center of thefuture cultural center. minorities, thusbringmarginalized groups andtheirenergy into the havealso theKitchen project, whichwilldealwithmigration and exsame –factory complex. thementioned Besides above, we factory space, theAdministrative buildingandtheTin and Rijeka CityLibrary willcontinue theiractivities intherenovated independent scene. Also, two institutions, of theCityMuseum Rijeka City Puppet Theater, CityLibrary, MMCA andactors from the

autor teksta/author: Igor Ružić / prevod na engleski/Englsih translation: Ivana Milenković, Fondacija „Novi Sad 2021“ / fotografija/photograph: ustupljeno ljubaznošću vlasnika Kulttura: 06

Martinoviću. Daću sve od sebe da opravdam očekivanja i have it all but have no skills to use it in the best possible way.

16/ odgovornost koje su mi povjerene, svim svojim srcem, znanjem, Perhaps the biggest problem is often in the lack of vision, and KotorArt, Kotor umijećem i svim svojim bićem. is therefore considered to be the invention of the 20th century. Koliko ste upućeni u muzičku scenu u regionu, s Lately, people in Montenegro have demonstrated a strong kakvim problemima se susreću muzičari s ovih sentiment that those who have stayed in the country are not Music requires all prostora? Da li gledate optimistično na poziciju good enough, and those who left abroad are believed to have klasične muzike u regionu? sold the country for a loaf of bread. Also, it is wrongly believed Roman Simović Roman that their experiences are not applicable to Montenegro. This has – Šarena je slika, ali su problemi svugdje slične prirode. Neko the time in this to change, the treasury of experiences our people gather around nema sale, neko nema budžet, neko nema kadar ili to koristi the globe, as well as the knowledge and enthusiasm of our kao opravdanje, neko ima sve to, ali ne umije na najbolji način colleagues in Montenegro can move our world. Also, the world world, and more da iskoristi. Možda je najveći problem često u nedostatku vizije, ’’Novi Sad holds a special place in my heart – it is where in some has become a very small place and with just one click you can pa se tako smatra kao izum XX vijeka. U Crnoj Gori u posljednje way, I took the first steps of my mature life and achieved first easily discover what is happening on the other side of the planet, vrijeme postoji jako loša percepcija ili teza po kojoj oni koji su tu bigger successes. I am now engaged as a guest lecturer at the making it harder to sell just anything. Both supply and demand nijesu dovoljno dobri, a da su oni koji su otišli prodali Crnu Goru Academy, and it is a pleasure to cooperate with an institution defend what they identify as quality. The above – mentioned za kilo kruha, a i pogrešno se smatra da su njihova iskustva u which dedicates so much continuous attention to quality Kotor Art and the artists and consumers of quality cultural Crnoj Gori neprimjenjiva. To se mora mijenjati, riznica iskustva education of children not only from Serbia, but also from the manifestations who support this festival, indicate that we have naših ljudi po bijelom svijetu, i znanje i entuzijazam koje imaju KotorArt, Kotor region.’’ indeed matured. Am I optimistic? Always! naše kolege u Crnoj Gori mogu da pomjere naš svijet. A i svijet je Fiercely loyal to classics and doesn’t recognize commercial art. postao malo mjesto, jednim klikom miša možete veoma lako doći Is the situation different abroad? More precisely, in Muzika zahtjeva He plays because of the great people such as Mahler or Brahms, do informacije šta se dešava na drugom kraju planete, pa tako London where you live? and could never offend them. ’’In this business it is important više nije lako prodati bilo šta. I samo tržište i potražnja brane ono – London is an entirely different world, a planetary epicenter, sve vrijeme ovoga to last, and everything that is void of value and created for self što identifikuju kao kvalitet, gorepomenuti „KotorArt“ i njegova but it also has its anomalies as well as the systems which deal – promotion is usually short – lived’’, explains Roman Simović, odbrana od strane umjetnika i konzumenata kvalitetnih kulturnih with these anomalies relatively easy. The politics of London has svijeta i više the most famous Montenegrean violinist and one of the most dešavanja je pokazatelj da smo i te kako sazreli. Optimistično?! greatly shaped the world we live in today. For now, it is miles away successful musicians of today, while revealing his attitude toward Uvijek! from our opportunities. But there remains a wish, obligation and music and art. He grew up in a musical family and when music necessity to strive toward those qualities, with our rich history, „Novi Sad ima posebno mjesto u mom srcu, tu su se na neki način Da li je u svijetu drugačija situacija, konkretno u faced him with new challenges, he left Montenegro and moved beautiful traditional values and inexhaustible enthusiasm. With nizali i moji prvi koraci zrelog života, ali i prvi veći uspjesi. Sada Londonu gdje živite? abroad. There he discovered a richer and older tradition in regards to the policy of cultural financing, we also have plenty to sam angažovan kao gostujući profesor na Akademiji umjetnosti – London je drugi svijet, planetarni epicenter, no takođe ima svoje classical music, but was also constantly struggling and proving learn, so why not use some of their experiences? i zadovoljstvo je sarađivati s institucijom koja toliko mnogo i u himself to the others. First it was Brazil, then Salzburg, London… anomalije, ali i sisteme koji s tim anomalijama relativno lako izlaze You are the concertmaster of the London Symphony kontinuitetu posvjećuje pažnje kvalitetnom obrazovanju djece ne And then – great talent, education, hard work and experience na kraj. Politika Londona je u mnogo čemu oblikovala svijet u Orchestra. How much engagement does this position samo iz Srbije već i iz zemalja regiona.“ brought him to the London Symphony Orchestra, where he now kojem mi danas živimo, za sad je to jako daleko od naših prilika. require, and what does it offer you in return? Strogo je vjeran klasici i ne priznaje komercijalu. Svira zbog velikih works as a concertmaster. It also earned him the privilege to Ali ostaje želja, obaveza i neophodnost da tim kvalitetima uz ljudi poput Malera ili Bramsa i ne bi mogao da ih vrijeđa. „U ovom play the Stradivarius violin from 1709, which was the generous našu bogatu istoriju, prelijepe tradicionalne vrijednosti i neiscrpni – LSO requires you to be the best at any given moment, to be poslu je važno trajati, a sve što nije vrijedno i pravi se kako bi gift of the president of Bank of America. He performed at the entuzijazam nastavimo da težimo. U smislu politike finansiranja ready, engaged, dedicated and devoted, because it implies čovjek promovisao samog sebe uglavnom je kratkoga vijeka’’, most prestigious world stages such as Bolshoi Theatre and kulture, takođe imamo što šta da naučimo, pa zašto ne bismo constant performances in the best halls, with the best artists otkriva svoj stav prema muzici i umjetnosti najpoznatiji crnogorski Tchaikovsky Conservatory in Moscow, Mariinsky Theatre in možda koristili i neka njihova iskustva?! around the world, all year round. LSO takes a lot, but also gives a violinista i jedan od najuspješnijih muzičara današnjice Roman Saint Petersburg, Israeli Opera in Tel Aviv, Victoria Hall in Geneva, Koncertmajstor ste Londonskog simfonijskog lot, not only when it comes to existential questions such as the life Simović. Odrastao je u muzičkoj porodici, a kada je muzika Rudolfinum in Prague, Barbican Centre in London, Seoul Arts orkestra. Koliko ta pozicija zahtjeva Vašeg of my family, but also when it comes to professional opportunities postavila pred njega nove izazove i zahtjeve otišao je iz Crne Center etc. As a chamber musician and soloist he shared the angažovanja, a šta Vam sve i koliko pruža zauzvrat? I was given thanks to my position in the LSO. LSO, jargonly speaking, plays in the Champions League, and the knowledge Gore u svijet. Tamo je našao bogatiju i stariju tradiciju u klasičnoj stage with the greatest world orchestras and conductors, among – LSO od vas zahtjeva da budete najbolji u svakom trenutku, you can draw from that depository is endless. muzici, ali i neprestanu borbu i dokazivanja. Prvo je to bio Brazil, whom were Valery Gergiev, Antonio Pappano, Daniel Harding, spremni, angažovani, posvećeni, požrtvovani… jer podrazumijeva pa Salcburg, London… A onda su ga veliki talenat, obrazovanje, Kristjan Järvi, Jiří Bělohlávek and many others. stalno nastupanje u najboljim dvoranama, s najboljim umjetnicima Many years ago, you stated that music requires all the time in this rad i iskustvo doveli do Londonskog simfonijskog orkestra čiji je Starting this year, you will be working as the art širom planete na svim kontinentima, godišnje… LSO mnogo world. Has your attitude changed? stalni koncertmajstor, kao i do privilegije da svira na Stradivari director of KotorArt, which is one of the biggest uzima ali mnogo i daje, prije svega po pitanju egzistencije moje – It has, now I think that music requires all the time in this world, violini iz 1709, koja je velikodušni poklon predsjednika institucije cultural manifestations in the surroundings. How do porodice, ali i profesionalnih prilika koje su mi se zahvaljujući and more… Bank of America. Nastupao je na najprestižnijim svjetskim you feel about this festival and its potential? poziciji u LSO otvorile. LSO, žargonski rečeno, igra u Ligi When one achieves such brilliant career moments scenama kao što su Boljšoj teatar i Konzervatorijum Čajkovski – Kotor Art is above all, a great responsibility and obligation. It šampiona, a znanje koje se iz te riznice crpi je beskrajno. and respectable success, what is the fatal mistake u Moskvi, Marijinski teatar u Sankt Peterburgu, Velika operska is a festival of national importance which stands alongside the Izjavili ste prije mnogo godina da muzika zahtjeva sve that can ruin his or her future? Are you still learning, kuća u Tel Avivu, dvorane Viktorija u Ženevi, Rudolfinum u Pragu, most important festivals of the region, by enriching the musical vrijeme ovog svijeta. Da li je to i dalje Vaš stav? and who from? Barbikan u Londonu, Centar umjetnosti u Seulu… Dijelio je scenu scene of Montenegro more than any other cultural initiative, kao kamerni muzičar i solista s najvećim svjetskim orkestrima – Jeste, sad mislim da muzika zahtjeva sve vrijeme ovoga svijeta – Precisely in your second question lies the answer to your first. whether it is coming from the state level or any other. The festival i dirigentima među kojima su Valerij Gergijev, Antonio Papano, i više… The moment you stop learning, you cease to exist. I try to keep has developed incredibly, from an unpretentious independent Danijel Harding, Kristijan Jarvi, Jirži Belohlavek... Kada se ostvare tako blistavi trenuci u karijeri, my feet on the ground, to stay realistic, approachable and honest, cultural initiative with immodest plans, to a festival of today’s respektabilan uspjeh, koja je kobna greška po despite all the shiny stars that are tempting and enchanting. Od ove godine umjetnički ste direktor „KotorArta“, proportions. For this progress, it owes a debt of gratitude to the muzičara za njegovu budućnost? Da li Vi i dalje učite, Whether I am doing this successfully, it is for the others to say. koji spada u najveće kulturne manifestacije u people who have been managing this festival so far, its founders i od koga najviše? Your road to success demanded a lot of sacrifices okruženju. Kako doživljavate taj festival i kako vidite – don Branko Sbutega and my respectable colleague and friend, and learning. How would you describe that road from njegovu perspektivu? Ratimir Martinović. I will do my best to rise to their expectations – Upravo u drugom dijelu Vašeg pitanja leži odgovor na prvi. the present – day perspective? – „KotorArt“ je prije svega velika obaveza i odgovornost. Festival and justify the role I was given – with all my heart, knowledge, Onog momenta kad ste prestali da učite, vi prestajete da od nacionalnog značaja, koji stoji rame uz rame s najznačajnijim skills and with my whole being. postojite. Trudim se da pored svih svjetlucavih zvijezda koje – Paved with thorns. Worthy of every step. Per aspera ad astra. mame i očaravaju i dalje stojim sa obje noge na zemlji, realan, festivalima regiona, obogativši muzičku scenu Crne Gore kao What is your knowledge of the regional musical You spent one period of your education in Novi Sad. pristupačan i iskren. Koliko u tome uspijevam, ostaje na drugima malo koja inicijativa u kulturi, dolazila ona s državnog ili bilo kog scene, what kind of problems do these musicians What are your memories of that period, what are the da kažu. drugog nivoa. Nevjerovatan put razvoja od skromne nezavisne encounter? Is your view on the position of classical experiences you gained at the Academy? Have you inicijative u kulturi s neskromnim planovima do festivala koji je u music in the region optimistic? Put do svjetskih scena zahtijevao je mnogo odricanja ever performed in front of the audience in Novi Sad? današnjim razmjerama, „KotorArt“ duguje prvenstveno ljudima i učenja, kako Vam sada, iz ove perspektive, izgleda – The picture is multicolored, but the problems are always – Novi Sad holds a special place in my heart – it is where in koji su ovaj festival u prethodnom periodu vodili, osnivačima taj put? similar, regardless of the location. Some have no halls, some have some way, I took the first steps of my mature life and achieved don Branku Sbutegi i mom cijenjenom kolegi i prijatelju Ratimiru no budget, some have no staff or use that as an excuse, some /17 Kulttura: 06 18/

– Trnovito. Vrijedan svakog koraka. Per aspera ad astra. first bigger successes. I am now engaged as a guest lecturer at Izložba Srpsko narodno pozorište Četvrtak, 14. decembar u 20 časova the Academy, and it is a pleasure to cooperate with an institution Jedna etapa Vašeg školovanja vezana je za Novi Predstavljanje knjige: which dedicates so much continuous attention to quality „Prostor, oblik, dodir“ – izbor iz repertoara za Sad. Kako pamtite taj period, kakva iskustva nosite Specijalizovana izložbe za slepe i „Majka obrnutih stvari“ education of children not only from Serbia, but also from the decembar s Akademije umjetnosti? Da li ste nastupali pred slabovide osobe Učesnici: Danica Vukičević, Vladislava region, including Montenegro. During the last decade, I was a novosadskom publikom? 17. novembra 2017 – 18. februara 2018. Gordić Petković, Slobodan Tišma frequent guest of the MONS (Music Youth of Novi Sad), as well Subota, 2. decembar u 20 časova – Novi Sad ima posebno mjesto u mom srcu, tu su se na neki Galerija Matice srpske as the Vojvodina Symphony Orchestra, and it was always a great način nizali i moji prvi koraci zrelog života, ali i prvi veći uspjesi. (Scena „Jovan Đorđević) pleasure. Petak, 15. decembar u 21 čas Sada sam angažovan kao gostujući profesor na Akademiji „Vojvođanska rapsodija“ premijera Svirka u knjižari – Bojan Slačala / umjetnosti i zadovoljstvo je sarađivati s institucijom koja Have you always believed in success, and how *Reprize: 4. i 5. decembar Artan Lili / Stuttgart Online / toliko mnogo i u kontinuitetu posvjećuje pažnje kvalitetnom important is this component for achieving Izložba „Animacija u 20 časova obrazovanju djece ne samo iz Srbije već i iz zemalja regiona, pa i professional excellence? snežnih skulptura“ Lazara iz Crne Gore. Bio sam čest gost u posljednjoj deceniji i NOMUS – – I think that without believing or hoping for success, you cannot Markovića Sreda, 6. decembar u 19:30 časova a, ali i Vojvođanske filharmonije i uvijek mi je to pričinjavalo veliko achieve it. The road to success is paved with a pile of attempts 27. novembra – 9. decembra 2017. (Scena „Jovan Đorđević“) Izložba „Poluvekovno zadovoljstvo. and a pile of failures which help you grow, therefore if you have Svečana akademija povodom Galerija SULUV – a filmsko stvaralaštvo Da li ste uvijek vjerovali u uspjeh i koliko je to bitna no faith, you will not persevere or advance. Also, I think that the obeležavanja 100 godina od smrti Želimira Žilnika“ komponenta za ostvarivanje u nekoj profesiji? saying: ’It’s not whether you get knocked down, it’s weather you Lazara Dunđerskog get up’ is not just an empty phrase. (1833 – 1917) 14. decembra 2017 – 2. februara 2018. – Smatram da bez vjere i nade u uspjeh, uspjeha ne može biti. Put Galerija likovne umetnosti do uspjeha je gomila pokušaja i gomila neuspjeha, i to vas gradi, When we say profession, somehow it doesn’t go with Pozorište mladih – izbor iz Poklon-zbirke Rajka Mamuzića te, ako ne vjerujete, nećete nastaviti i napredovati. A smatram music. What is your attitude toward that, given that repertoara za decembar Decembar 9, 11. i 13. u 19 časova da nije ni floskula kad kažemo da je manje bitno to što ste pali, there are many things which are not music making, (Scena „Jovan Đorđević“) but are an integral part of the professional musician’s mnogo je bitnije da li ste i kako ustali i nastavili dalje. Sreda, 6. decembar u 20 časova Opereta „Kneginja čardaša“ obligations? Kada kažemo profesija, nekako ne ide uz muziku. (Velika scena) Koncert rane muzike – It sure is a profession, and a very demanding one, full of stress, Kako se Vi prema tome odnosite, jer postoji mnogo „Tramvaj zvani želja“ (Tenesi Decembar 16, 18, 22, 23, 27. i 28. full of roads paved with obstacles and a lot of petty people who u izvođenju ansambla stvari koje nisu muziciranje, a sastavni su dio Vilijams) – gostovanje Zvezdara teatra u 19 časova (Scena „Jovan Đorđević“) obaveza profesionalnog muzičara? will not allow you to spread your wings, at any cost. It is all part „Marquise“ of the profession though, along with the great responsibilities Balet „Krcko Oraščić“ 17. decembar u 20 časova – I te kako je profesija, i to veoma zahtijevna, stresna, puna puteva Četvrtak, 7. i petak, 8. decembar you have as the accompanying segment of a concert, PR, Gradska kuća popločanih preprekama i s gomilom malih ljudi koji po svaku (Velika scena) management, short – term, mid – term and long – term u 20 časova cijenu žele da vam ne dozvole da raširite krila. Sve je to sastavni Festival evropskog i development strategies and career planning, project financing „Čikaške perverzije“ dio profesije muzičara, uz velike obaveze koje imate kao prateći etc. It is not my favorite part of work, but it is essential, and I try to (po motivima drame Dejvida Memeta) nezavisnog filma segment jednog koncerta, PR, menadžment, kratkoročna, „Modernizmi XX veka address it with the greatest possible commitment. ljubaznošću vlasnika ustupljeno „Euro-in film“ srednjoročna i dugoročna strategija razvoja i planiranje karijere, Subota, 16. decembar u 20 časova kontinuiteti i sučeljavanja“ Nonetheless, when you step onto the stage, it is art. 4 – 28. decembra 2017. finansiranje projektne realizacije… To mi nije najomiljeniji dio (Velika scena) Otvaranje nove stalne posla, ali svakako je sastavni, i trudim se da se prema njemu Is there a limit to your imagination and emotions Velika sala Kulturnog centra „Evgenije Onjegin“ – premijera postavke XX veka odnosim s najvećom mogućom odgovornošću. when you are performing? Is there an adequate Novog Sada description of what you are experiencing on the Galerije Matice srpske Ipak, kada Vi izađete na scenu, to je umjetnost. Da stage and during your contact with the audience? Nedelja, 17. decembar u 20 časova 22. decembar u 19 časova li tada Vašoj imaginaciji, emocijama ima granica, da (Velika scena) Deo programa knjižare – Each concert is special, magical in its own way. I never know li postoji adekvatan opis onoga šta doživljavate na „Kumovi“ (Dušan Kovačević) – „Bulevar Books“ pozornici i u susretu s publikom? where that world of metaphysics in which I wander will take me… I guess as long as that is so, I will be interesting to myself and to gostovanje Zvezdara teatra – Svaki koncert je poseban, magija za sebe. Nikad ne znam gdje others. Petak, 8. decembar u 20 časova Veče poezije će me taj svijet metafizike po kojem lutam odvesti… Valjda dok je Predstavljanje knjige: „Poezija pod čašama“ tako, biću zanimljiv sam sebi, pa i drugima… You come from a musical family, you grew up with

Jelena Maravić / fotografija/photograph: Jelena Maravić Antologija ženske poezije „Ovo classical music and instruments. Do you pass that (recitatorska družina „Među nama“) Potičete iz muzičke porodice, odrastali ste uz Učesnici: Jelena Anđelovski, down to your daughter? nije dom“ 27. decembar 2017. u 20 časova klasičnu muziku i instrumente, da li to Vi sada Vitomirka Trebovac – What my wife and I set as an absolute imperative for Sofia’s Novosadsko pozorište prenosite na svoju ćerku? growing up is creativity. Where it will lead her, I believe and hope – Ono što smo moja supruga i ja postavili kao apsolutni imperativ it would be in a way, only her decision. We will try to decode u Sofijinom odrastanju je kreativnost. Gdje će je ona odvesti, those signals in the best possible way, precisely because we vjerujem i nadam se da će to biti, na neki način, samo njena want to avoid projecting onto her something that can be only Novogodišnji gala koncert odluka, a te signale ćemo probati da protumačimo na najbolji our ambition. What is sure is that, whichever road she chooses, Beogradske filharmonije mogući način, upravo u želji da je ne usmjeravamo na ono što we will support her and try to make that road easier for her. If može biti samo naša ambicija. Ono što je sigurno je to da će, koji Dirigent: Alan Bjelinski that road happens to be music, it will be the fifth generation of god put bude odabrala, s naše strane imati obezbijeđene sve 30. decembar u 20 časova musicians in our family. preduslove da tim putem korača što lakše i poletnije. Ako to bude Srpsko narodno pozorište muzika, biće to peta generacija muzičara. Your schedule until the end of this year’s concert (Scena „Jovan Đorđević“) season is packed. You have a lot of upcoming Koncertna sezona do kraja godine Vam je ispunjena performances, concerts in Italy, Kuwait, Scotland… nastupima, očekuju Vas koncerti u Italiji, Kuvajtu, Do you have any other business plans?

Škotskoj… Da li imate još neke poslovne planove? na engleski/Englsih translation: / prevod Marina Strugar – If you work hard and are dedicated to your job, with plenty of – Ukoliko se trudite i posvećeni ste onome što radite, uz www.kulttura.rs luck, business plans will always follow. My most important plan, gomilu sreće, poslovnih planova će biti. Ono što sa sve većom which I am working on with great devotion, is spending more time posvećenošću pokušavam da planiram je vrijeme koje želim da with my family. provodim s porodicom, to je moj najvažniji plan. autorka teksta/author: autorka /k3 Impresum *besplatan primerak & Marko Mijatov Kuća Čuvarkuća Grafički urednik Marina Strugar Igor Ružić Igor Burić Sonja Jankov Saradnici Nataša Gvozdenović Glavna iodgovorna urednica Kulttura:

Kulturni centar Novog Sada Institucijalni partner Kuća Čuvarkuća Produkcija idistribucija Fondacija „Novi Sad 2021“ Izdavač Marija Kovač Fotografije VukadinovićMilica Lektura ikorektura

redakcija@kulttura. rs Kontakt 10 000 Tiraž Inđija Štamparija ’’Komazec’’, Štampa IDEA Podrška projektu

COBISS. SR–ID315455495 2560–4430ISSN Mesečno. prestonica kulture”, 2017 cm –.29 Novi Sad :Fondacija “Novi Sad 2021 –Evropska Gvozdenović. –2017, br. 6(decembar) –. Kulttura: 008(497. 113) Библиотека Матице НовиСад српске, CIP –Каталогизација упубликацији / glavna iodgovorna urednica Nataša

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